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On Last Night, Moby is as blissfully out of touch with modern club music as he is current.
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In the end, lost amidst the faithfully reproduced house piano progressions and familiar melodies is anything signaling that those epiphany-filled late nights were actually, you know, fun.
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'Last Night's' too slow--its jazzy chord progression doesn’t hold our attention. And so we come to the end of another Moby album. And, as usual, though momentarily incited to remember why we liked him, we’re disappointed again.
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UncutThis finds Richard Melville Hall seemingly going through the motions. [Mar 2008, p.96]
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MojoAt it's best, it's a picaresque, altered-states voyage through old school hip-hop, black-leather electro and techno menace; elsewhere it's as invigorating as trying to get served at a bar. [Apr 2008, p.101]
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Q MagazineLast Night is a welcome return to the dancefloor following 2005's patchy rock-dance experiment "Hotel," though it still feels as if Moby is struggling to live down the 10 million-selling "Play." [Apr 2008, p.112]
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A concept album about an all-night bender, Last Night solidifies Moby's link in the chain that binds DJ pioneers like Todd Terry to slinky futurists like Justice.
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Overall this is an unpretentious and varied album of rave stompers, hands-up disco and sedate moments of beguiling ambience that combine to form probably his best and most cohesive album since "Play."
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Under The RadarStylistically the album is too spread out, with ambient, rave, dance, trip-hop, hip-hop, synth pop and just plain pop, that nothing really sticks, and the album feels like a bunch of randomly produced singles instead of a cohesive whole. [Winter 2008, p.90]
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Last Night is sensible, clean, pleasant. But it lacks that essential injection of endeavour and emotion.
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Last Night is nonetheless an extremely warm, loving, moving album concerned with more than just vintage sounds.
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It plays like a retrospective of his signature sounds. [Apr 2008, p.100]
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These songs aren't as transcendent as a Chemical Brothers comedown, but they'll suffice until the Chems reunite with Beth Orton.
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Last Night is a cool idea and a mission almost impossible.
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And though it's doubtful that any of these qualities will duplicate the success that Moby had in 1999, Last Night is a surprisingly solid and fun listen for anyone who ever gets nostalgic for MTV's Amp.
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Last Night is a remarkably impersonal work.
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He lacks [Daft Punk and Justice's] wit or personality, and the album turns into a sucession of flashy vocal cameos and samples. [Apr 2008, p.81]
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This is the definitive Moby album.
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Last Night feels like a cold academic exercise, as though Moby were compiling a collection of beats for future examination by an alien race curious about our after-hours ways.
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An intoxicating record from a re-energised Moby, for the first time in years he isn't struggling to work out how to follow "Play" and "Last Night" is all the more convincing for it.
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For the first time since 1995's "Everything Is Wrong," the producer who cashes checks as Richard Melville Hall has made an album that, while not devoid of song craft, doesn't allow the pop elements to overpower the dance floor punch.
User score distribution:
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Positive: 19 out of 25
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Mixed: 4 out of 25
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Negative: 2 out of 25
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Apr 22, 2023
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May 13, 2012
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CaseyEApr 12, 2008