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Oct 7, 2013From 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.
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Oct 4, 2013The 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.
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Oct 3, 2013There’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.
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Oct 1, 2013The results are expectedly familiar, fantastic and welcome.
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Oct 1, 2013There's a hypnotic purity to Innocents.
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Sep 30, 2013Mark 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.
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UncutSep 25, 2013[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]
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Sep 25, 2013Closing 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.
User score distribution:
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Positive: 26 out of 31
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Mixed: 1 out of 31
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Negative: 4 out of 31
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Oct 2, 2013
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Oct 1, 2013
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Sep 30, 2013