Moby - Everything Is Wrong
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CD Details
Artist: MobyEdition: Music CD
CD Release Date: 1995-03-14
Music Label: Elektra / Wea
Soundtracks:
- Hymn
- Feeling So Real
- All That I Need Is To Be Loved
- Let's Go Free
- Everytime You Touch Me
- Bring Back My Happiness
- What Love
- First Cool Hive
- Into The Blue
- Anthem
- Everything Is Wrong
- God Moving Over The Face Of The Waters
- When It's Cold I'd Like To Die
Description of Everything Is Wrong
With the release of Everything Is Wrong, Moby procured an entry into the major-label circuit. Covering many techno genres, the album shows Moby's desire to be all things at once. Flaunting breakbeats, noisy industrialism, acid trance, ambient textures, and techno-pop, the mix is often hard to grasp. Although this speaks of Moby's versatility, the liner notes should contain a disclaimer warning the listener of the elastic moods which may be produced by the dubious nature of the tracks. Whereas the songs are noticeably varied, the essential song-writing techniques often fail to progress beyond minimal chord structures and predictable measures. While it's apparent that Everything Is Wrong in Moby's realm, his lack of focus demonstrates that it can be equally wrong to tackle everything. --Lucas HilbertMoby is an ambitious man, both musically and philosophically, and that quality seeps into every aspect of Everthing Is Wrong, from the wunderkind DJing that stretches the genre limits of techno to the angry, antiestablishment manifesto on the CD sleeve. The record's opening salvo of dancey club music sets the listener up for "All That I Need Is to Be Loved," which, out of nowhere, bludgeons would-be club kids with tuneless, mad vocals and punked-out guitar solos. The same bait-and-switch formula repeats twice on the CD at almost regular intervals in the industrial shriek of "What Love" and the sudden, slow, and acoustic bent and folksy vocals of "Into the Blue." All three shifts are jarringly abrupt. However, dance-floor continuity is in Moby's blood, and he uses these songs as parts one, two, and three of the underlying rage that drives the record's concept. Without these three tracks, in fact, you'd have a moody yet convincingly cohesive danceathon, bouncing between house breakbeats ("Feeling So Real," "Bring Back My Happiness") and blissed-out trance ("God Moving Over the Face of the Waters"). Instead, Moby expresses his bewildered and desperate view of modern life by periodically yanking away the escape of blind, danceable ecstasy, using that discontinuity to express the eyes-wide-open ruminations of a furious idealist. --Matthew Cooke
With the release of Everything Is Wrong, Moby procured an entry into the major-label circuit. Covering many techno genres, the album shows Moby's desire to be all things at once. Flaunting breakbeats, noisy industrialism, acid trance, ambient textures, and techno-pop, the mix is often hard to grasp. Although this speaks of Moby's versatility, the liner notes should contain a disclaimer warning the listener of the elastic moods which may be produced by the dubious nature of the tracks. Whereas the songs are noticeably varied, the essential song-writing techniques often fail to progress beyond minimal chord structures and predictable measures. While it's apparent that Everything Is Wrong in Moby's realm, his lack of focus demonstrates that it can be equally wrong to tackle everything. --Lucas Hilbert
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