Last Night

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Editorial reviews

Amazon.co.uk Review
After three albums that seemed to find Moby in some sort of creative stasis, Last Night sees the once-restless DJ/producer changing the record and returning to one of his first loves: the heaving dancefloors of his native New York. Soulful, uplifting piano rave is the order of the day here, and while some hallmarks of Play remain--Moby still has a fascination for long, tearful synth lines and sampled vocals, which he drops in here and there, seemingly to yield the maximum emotional response--Last Night still feels like a clean slate. "I Like to Move in Here" shimmies along on a languid house beat that doffs a cap to early hip-hop in the shape of a cameo from MC Grandmaster Caz, one of the writers of "Rapper's Delight", while "Everyday It's 1989" is the sort of overdriven, ecstatic piano house that Moby perfected on his 1995 classic Everything Is Wrong. There's more guest spots in the shape of British MC Aynzli, the Nigerian 419 Squad and Sylvia from dark NYC disco band Kudu, but the most impressive thing about Last Night is the peaks that Moby can reach when he's working alone: see the grand, emotive swell of "Sweet Apocalypse", cold synths and driving beats that, were it released by James Murphy, would be hailed as genius--and rightfully, too.--Louis Pattison

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Customer reviews

review by: date: 2008-09-23 rating:
Moby is still the best
Last night is a fantastic album in the typical style of Moby.
These tracks are reproducing 70's and 80' as Moby wrote in the introduction.
Classic disco style, the same as Moby created in his early career.
(Sorry for my English)

I prefer it for everybody who love Moby or who don't know Moby but love old disco hits.

Best wishes,

Kuzma from Hungary

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review by: Cheese anyone? date: 2008-06-23 rating:
A refreshing return to form
Like the previous reviewer, I would also like to start in questionable fashion... Why on earth are people comparing this to the likes of Play and Hotel? What you all fail to realise is that Moby release's albums centred around a different theme, a feeling. To call him an individual artist to a specific genre is wrong; the likes of Play and Hotel demonstrated his freedom to cross many different sub-genres, whereas this album, (as it CLEARLY explains in the CD booklet, if anyone even bothered to read it) is inspired by his days clubbing with friends until the early mornings around the late 80's/early 90's. 'Nuff said really.

The album itself is quite a refreshing change for todays market, inspired by typical Roland synths from the 80's and 90's, that for Moby, summed up his years of partying and clubbing. Such is the case it brings back joyful memories of an era gone by; "Everyday its 1989", "The Stars" and "Disco Lies" are structured in retro fashion, sounding like many of the rave tunes from the summer of love. More typical 'Moby-esque' tracks such as "Ooh Yeah" and "Hyenas" make a welcome return to form and help complete a quite uplifting album, where the likes of "Degenerates" complete a downward chill near the end of the album.

It's wrong to rate such a CD poorly when people clearly miss the point, and wave fingers because it doesn't meet "their taste". The album is clearly centred around the journeys that surround a night on the town, and focusses on the character of the night-time in the land of dancing - 4 x 4 beats, looping vocals, but above all the classic Moby rhythms to go with them.

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review by: date: 2008-06-02 rating:
Superb in its own right.
May I just start by saying that I wish people would stop expecting another 'Play'. It has been and gone and Moby is the type of artist who is never going to repeat himself. As much as I loved 'Play', I think that this album is on a par with it, although it is completly different. My favourite song on the album would have to be 'I love to move in here' which I instantly fell in love with for it's floaty, easy listening, but still danceable beat. However, there is not a bad track on this album, all in there own diverse way brilliant, with many talented guest vocalists; particularly the afroed diva belting out disco lies!

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review by: Excessional date: 2008-05-28 rating:
Last Night? Hopefully not prophetic!
I'd decided I wasn't going to bother with this album but then heard 'Ooh Yeah' blaring out at a music store and signed up yet again. I think the problem with Moby is that he doesn't sound like he's moving on - and so too with this album, any of the tracks would not sound out of place on say '18', and his selection of lead single 'Alice' was not a good move - possibly his worse choice for single ever so I'm not surprised it's not selling too well.

And yet...this is a good album. In the notes, he says he has tried to condense an evenings club music into one cd. I don't know about that but certainly the music plays very well as an album - lots of uptempo music with guest vocalists then the last four tracks slow the pace down for some apre-club chill. It's just that no track jumps out and steals your heart, but its growing with each play and its still getting played. I'm glad I bought it.


review by: Goat Boy date: 2008-05-21 rating:
A Fantastic return to form!!!
It's a shame that Moby has become almost the ubiquitous sound of advertising to the point that even though the music on Play and 18 were great, they will forever be remembered for the products they advertised.

By way of comparison Last Night is a return to the dance music that characterised Moby's early releases. The tunes themselves have the feel of early Moby like 'Go', 'Feeling So Real' and 'Anthem' which is fantastic. The album itself feels as if it winds its way through a night out, from the euphoria of preparing and getting to a club, and eventually coming back down to the late night reflection on what was and might have been. While the tunes hint at the past the production and quality of music and vocals (from the myriad of different guest vocalists) are bang up to date.

If you only buy one dance music album this year make it this one!

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