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2009-07-22
By James Curtis (Los Angeles, CA)
I believe this album was made for a certain type of crowd. It may or may not appeal to previous Moby fans but its exactly what I’m looking for in music. I love it and expect to receive my copy in a few days.
2009-07-19
By E. Anderson
I will be the first to admit that I was not fond of Moby’s previous album LAST NIGHT, his return to his dance roots. I must admit I was a bit nervous with his most recent WAIT FOR ME but thankfully I had nothing to worry about. WAIT FOR ME is Moby’s return to what I have come to know and love from Moby. The music on WAIT FOR ME is reminiscent of Moby’s breakout album PLAY with gospel/blues tinged songs like "Study War" and the title track.Unlike 18 and HOTEL, I find myself able to listen to WAIT FOR ME without skipping a single song.I really enjoy the melodies through out the album. I find the music great to unwind to after work or chill out in the morning with a cup of coffee and the newspaper. I certainly can see WAIT FOR ME being in my top ten albums of 2009. I think it is fantastic. This is the Moby I have come to know and love.
2009-07-16
By Martin A Hogan (San Francisco, CA. (Hercules))
Moby has never been afraid to experiment, so this latest offering promised a more mellow Moby sound. The opening song, "Division" is very pleasant, with ethereal mood music, while "jltf-1" is light and monotonous. However, ""jltf" redeems "jltf-1" with a nice vocal by Melody Zimmer. The album jumps around from a few good tracks to bland monotonous noise like, "Pale Horses" and "Stock Radio" which is nothing more than 55 seconds of `noise’. The album is at the most, uneven, even if most of the songs are of a lower key than previous albums.
That’s not to say all is boring about "Wait For Me". "Shot In The Back of the Head" is an ethereal mind trip that is almost hypnotic. The title track, "Wait For Me" is a nice solid song with great heartfelt lyrics from Kelli Scarr. "A Seated Night" is one of the more inventive keyboard pieces with a bluesy scatting by Starr Blackshere, but the other male vocalist (not noted in the booklet) is distracting with his repetitive southern-style preaching. But not all is lost here. "Mistake" and "Scream Pilots" are good pop rock songs that are solidified with a solid drumbeat and nice guitar work. The album closes with "Isolate" which uses a myriad of instruments to induce a pleasant plaintive song.
Unfortunately, there are no songs like, "When Its Cold I’d Like To Die" Everything Is Wrong or "Porcelain" Play, but about a third of the album is worth a listen. Unfortunately, this could have been a great album for Moby if he experimented a bit more with the ethereal keyboards range that are so prominent here. It’s not great or terrible in any sense. There are just too many songs that have the same backing electronic keyboards with little variation. Hang in there. Moby will surprise us next time.
2009-07-16
By J. Joens
"Wait For Me" isn’t going to change anyone’s mind about Moby.
If you are a fan then you should like this cd. The quality of the songs is uniformly good, and while there aren’t any songs that jump out at you like "Why Does My Heart Feel So Bad?" or "We Are All Made of Stars" there aren’t any clunkers either. "Shot In the Back of the Head" and "Mistake" are the two songs that I like best, but there are several other nice songs as well, and nothing that made me want to skip to the next cut.
On the other hand, if you don’t like Moby then this cd isn’t going to change your mind. The differences between this cd and his previous releases are (despite claims to the contrary) not that great.
Nice if you like Moby…not so nice if you don’t.
2009-07-14
By allangiven.com
Moby is a genius. Enough said. With the release of Moby’s ninth studio album, "Wait for Me," on June 30th, Moby has once again reinforced the fact that he is a true artist, someone who is constantly searching yet at the same time uncannily adept at transferring a vision to reality. "Wait for Me" is a far different album than the 2008 release "Last Night." This is not some standard "get out on the dance floor" inspiring electronica fare, which rave kids with glowsticks will hungrily devour. Not at all. This album is something else, something perhaps more mature. Think about the morning after a night of raving, that moment of twilight just before the sun rises where you are caught in a state of lucidity, still amped from the previous night, but also bordering on exhaustion, watching a blurred, awakening world race past you from a car window. This is "Wait for Me."
Yes, "Wait for Me" is an electronic album, completely written, engineered and produced by Moby. But can we really define it as simply "electronic?" The album is more like a rhythmic blend of southern blues, gospel and smoky jazz, continuously morphing and changing from one moment to the next. "Wait for Me" is a journey, a progression through time from the past of what used to be to that which is about to become. The album could be described as being melancholic, or even hauntingly melodic, but in fact it has much more depth than the superficial layers of the label of those emotions. Listening to "Wait for Me" straight through reveals the grandness of its cinematic nature while maintaing a deeply individualistic and personal level of insight. Seriously, close your eyes and listen to some of the instrumental songs such as "Shot in the Back of the Head" and you’ll see what I mean. The almost backwards sounding synthed guitar riffs drive you forward, telling a story that is uniquely your own.
What stands out tremendously though on "Wait for Me" are the singers that Moby has chosen for the handful of songs that have vocals. The women on the album are without equal, projecting at the same time both depth and despair, strength and vulnerability. The voices of Amelia Ziria Brown ("Pale Horses"), Starr Blackshere ("Study War"), Leela James ("Walk With Me"), Melody Zimmer ("JLTF"), Kelli Scarr ("Wait for Me") and Hilary Gardner ("Hope is Gone") all completely coalesce with Moby’s vision for the album, becoming part of a cohesive whole, without any disjointedness of division. What is presented is a complete progression of thought, with the amazing vocals creating a world that possesses both an ethereal and biting quality.
The music, all of which is of course played by Moby, reflects this same dichotomy. At one moment there are sweepingly languid orchestral strings and the next there is a driving guitar. What is being created is an amalgamate of varying influences, all coming together to define a state of being. While lyrically songs with verses such as, "You never felt this lost before. The world is closing doors." and "Put me on the train. Send me back to my home." may seem based in the despair of melancholia, this album is not dark. You have to listen closely, but there is an element of hope there. Even with songs such as "Study War," reminiscent of the 1971 Gil Scott-Heron B-side "The Revolution Will be Televised," there is the assertion that, "The battle will be over." Moby layers so much into each of his songs that even the barely audible chorals in the backgrounds of some of the pieces may only be heard when the music is cranked up to eleven or when listened to through a pair of Bose headphones. The elements are there, seemingly just out of reach, but waiting to be discovered to expose a whole new layer of meaning. The fact is, each song is elegantly crafted to convey Moby’s vision and to take the listener on a journey to somewhere they most likely have never been before before.
I highly recommend that you take the journey. You will be glad you did.
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