All Visible Objects is the seventeenth studio album by American musician and singer-songwriter Moby, released on May 15, 2020 on Little Idiot and Mute Records. The album includes the singles "Power Is Taken", "Too Much Change", "My Only Love", "Morningside", "Rise Up in Love", "Forever", “Tecie" and “Refuge”.
Background
In March 2019, Moby released his previous album, Long Ambients 2, which continued the format of a collection of long-form ambient tracks that he had produced for the first, Long Ambients 1: Calm. Sleep.[1] He then stepped away from music to promote Then It Fell Apart, his second autobiography that focuses on his life and career between 1999 and 2009.[2] The book attracted criticism from Natalie Portman, after Moby insinuated the pair had dated, which she denied and called him "creepy".[3] After a series of appearances to promote the book, Moby cancelled the remaining dates and from June 2019, largely avoided the public eye.[4][5]
All Visible Objects received mixed reviews from critics. On Metacritic, the album has a score of 62 out of 100 based on 8 reviews, which indicates "generally favorable reviews".
"Power Is Taken" has been compared to Moby's electronic dance music sound from the 1990s, away from the downtempo style of Everything Was Beautiful, and Nothing Hurt (2018), but "filled with a bold call to political action".[21] Thomas H. Green of The Arts Desk commented, "Moby’s last three albums, including two as The Void Pacific Choir, have all been bedded down in his rage and sadness at what his country – and the world – is undergoing. All Visible Objects seems to be a conscious attempt to move away from that and explore new territory – in this case a behemoth, stadium sized sonic update on what he did in the late-Nineties – but it proves to be a misstep. However, given he's handing all the proceeds of the album to various charities, we can only wish it every bit of luck."[12] Rachel Aroesti in her review for The Guardian stated, "Certainly, All Visible Objects, Moby’s 17th album, doesn’t feel like a punt for musical relevance. The first half dances between feverish house, dazed electronica, rave, techno and dub, the second comprises ambient and slightly po-faced pieces built from piano figures and synth washes. The overriding impression of both modes is nostalgia, not least for the uplifting, utopian properties of dance music."[16] Ryan Middleton of Magnetic Magazine added, "Moby finds himself surging around his various influences on this album. It is strongly linked to his love of ambient music and orchestral arrangements, but also finds time to rage against the status quo. There are moments of beauty and moments to dance. It isn’t a traditional dancefloor record, but there has never been anything traditional about Moby’s music."[22]Evening Standard's Jahan Embley wrote, "Overall though, you feel Moby, with 16 studio albums behind him, could and should do better."[15]
Track listing
All tracks written and produced by Moby, except "My Only Love" by Bryan Ferry and "Refuge" by Moby and Linton Kwesi Johnson.[23][24]
