Innocents

  • Record Label: Mute
  • Release Date: Sep 30, 2013
Metascore
60

Mixed or average reviews - based on 19 Critics

Critic score distribution:
  1. Positive: 8 out of 19
  2. Negative: 2 out of 19
Buy On
  1. Oct 1, 2013
    86
    The results are expectedly familiar, fantastic and welcome.
  2. Oct 7, 2013
    80
    From its funereal ballads to its hook-infused jams, Innocents is uniformly satisfying and catchy as hell, suggesting a fascinating possibility--if this is the album that he has waited his entire life to make, then at the grizzled age of forty-seven, Moby is only now entering his prime.
  3. Oct 1, 2013
    80
    There's a hypnotic purity to Innocents.
  4. Uncut
    Sep 25, 2013
    80
    [Moby] draws on a long list of collaborators to bring character and depth to his distinct brand of ambient techno, with frequently haunting results. [Oct 2013, p.71]
  5. Oct 4, 2013
    70
    The collaborations are interesting, and at times fascinating, but there is little doubt that the destiny of most tracks here will be, once again, as sonic accompaniments to visual productions.
  6. Oct 3, 2013
    70
    There’s a huge range of styles on display, but Innocents remains a remarkably cohesive and creative record, thanks both to Moby’s instrumentation and to the album’s conceptual feel.
  7. Sep 30, 2013
    70
    Mark Lanegan's deep, weathered voice is relatively (rightfully) unornamented and dissipates amid soft drones after "Here come the lonely night…can't escape my mind." It helps make Innocents Moby's most powerful work in several years.
  8. Sep 25, 2013
    70
    Closing track The Dogs (featuring Moby himself on vocals) does stretch things out somewhat, it doesn’t spoil the notion that Innocents, while maybe not the creative renaissaince hinted at, is Moby’s best album for some time.
  9. Nov 4, 2013
    60
    Majestically sad (“Almost Home,” “Saints”), soulfully sad (“A Case For Shame”), atmospherically sad (“Going Wrong”), trip hop sad (“The Last Day,” “Tell Me”), Northern soul sad (“Don’t Love Me”) are all interesting but often too subtle variations that almost make you want to force feed him Zoloft at times.
  10. Oct 24, 2013
    60
    A richly listenable collection.
  11. Oct 7, 2013
    60
    It's still a Moby album--patient tempos, frosted with strings and comfortably melancholy melodies. But working with his first outside producer, Mark "Spike" Stent (Gaga, Beyoncé, Massive Attack), has made him knuckle down; the writing is sharper than on 2009's sketchy Wait for Me or 2011's overblown Destroyed.
  12. 60
    It’s a Moby album for sure. No gimmicks or schlocky attempts at something trendy like dub-step, and no curveballs to polarize fans.
  13. Sep 27, 2013
    60
    Innocents contains some great vocal performances and catchy hooks, and despite the tent ropes being held down by the weight of mediocrity, it'll please many Play-era Moby fans and radio listeners as ideal background music for patio conversations about how their stocks are performing.
  14. Mojo
    Sep 25, 2013
    60
    Album number 11 twitches with the same darkly neurotic pop as 2009's Destroyed. [Oct 2013, p.98]
  15. 40
    Moby has created an album full of saccharine strings, endless loops and narcoleptic synths. The mind boggles.
  16. Q Magazine
    Oct 11, 2013
    40
    Most of the musical elements remain over-familiar-swelling strings, understated beats, the odd crackly blues sample. [Nov 2013, p.111]
  17. Oct 3, 2013
    40
    It still sounds like so many other Moby albums. And by that, I mean the synth pad presets softly juggle the usual chords around and around while samples get the hell sampled out of them.
  18. Under The Radar
    Sep 25, 2013
    30
    For the most parts, it drags. [Aug-Sep 2013, p.92]
  19. Sep 25, 2013
    30
    Moby’s attempts to paper over a demonstrable lack of songwriting inspiration with grand string arrangements and a sequence of guest collaborators only emphasises the tedium here.
User Score
7.6

Generally favorable reviews- based on 29 Ratings

User score distribution:
  1. Positive: 3 out of 4
  2. Negative: 0 out of 4
  1. Apr 29, 2015
    5
    It sounds like a moby album, which I guess is enough for a lot of people, but its hard to escape the feeling that his albums are providingIt sounds like a moby album, which I guess is enough for a lot of people, but its hard to escape the feeling that his albums are providing diminishing returns at this point. Destroyed was boring and this album similarly just drifts by with no great moments really. It is disappointing because Wait for me I found excellent, it was kind of sombre but was a bit of a departure and seemed a bit more experimental, but was the right album for the right time, typically a late night after the party kind of vibe. Hopefully Moby will come back with something new that breaks out of the bad run he seems to be on at the moment. Full Review »
  2. Oct 2, 2013
    9
    I am very much enjoying listening to this album. Its really laid back and filled with a diverse range of vocals. This is exactly what II am very much enjoying listening to this album. Its really laid back and filled with a diverse range of vocals. This is exactly what I wanted. These are some real soulful tracks. Excellent.

    While I have heard a few Moby songs here and there, and I really like them, I have never really sat down and listened to any of his previous albums. After listening to this album i'll definitely check out his previous stuff.
    Full Review »
  3. Oct 1, 2013
    9
    I think it's like "Destroyed II", but that is awesome. The album sounds like Destroyed and a bit like Wait for Me, it's like if he's creatingI think it's like "Destroyed II", but that is awesome. The album sounds like Destroyed and a bit like Wait for Me, it's like if he's creating a Long Triple Album, but, it's a huge album full of sounds that can make you dream awake. Full Review »