All Visible Objects
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out of 10
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Generally favorable reviews- based on 8 Ratings
- Summary: The latest full-length release for the electronic artist features contributions from Apollo Jane, Boogie, Mindy Jones, Linton Kwesi Johnson, and Dead Kennedys drummer D.H. Peligro.
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- Record Label: Mute
- Genre(s): Electronic, Ambient, House, Electronica, Techno, Trance, Club/Dance, Ambient Techno, Progressive House
- More Details and Credits »
Top Track
| Forever | |
|---|---|
| Two simple places We wanted to go Two simple things You wanted to know Everything around I could not see I wish I'd known How much you loved... | See the rest of the song lyrics |
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Score distribution:
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Positive: 3 out of 8
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Mixed: 5 out of 8
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Negative: 0 out of 8
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May 15, 2020Like 2018's Everything Was Beautiful, and Nothing Hurt, All Visible Objects is a highlight in Moby's late-era catalog, a revitalization that serves both his passionately held beliefs and his core sound.
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May 15, 2020Overall, All Visible Objects acts as a love letter to the early ‘90s techno/trance/rave scene, albeit in a pop-instilled way. Moby pays his respects to the respective era, blending various sounds from his discography into what plays like a smoothly sequenced, nostalgia party mixtape.
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May 15, 2020All Visible Objects is a welcome addition and one that offers a little bit of everything to everyone.
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May 18, 2020When it hits the spot, Moby’s writing is still subtly powerful, but when it doesn’t a curious and lasting emptiness remains. This may accurately reflect the imbalances of the world, but as a musical work it ultimately feels off-kilter.
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May 21, 2020These songs tend towards fuzzy sentiments—the words “love,” “life,” “light,” and “feel” are staples. Many of the musical ideas—tinkling pianos, plasticky strings and emotion-squeezing chord progression—have been part of Moby’s toolkit since the word “Go.”
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Rolling StoneJun 3, 2020There are toe-tapping moments, but the best song is a Roxy Music cover. [Jun 2020, p.71]
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May 15, 2020The overriding impression of both modes is nostalgia, not least for the uplifting, utopian properties of dance music. Moby finds some traction on the first count – there is vitality here, if not novelty – but the forays into politics aren’t so convincing.
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