hi,

so, on june 29th i'm releasing my next album, 'wait for me'.

i recorded the album here in my studio on the lower east side (although 'studio' always seems like an overly grand word for a bunch of equipment set up in a bedroom). in the past i've worked in large and small studios, but for this record i wanted to record everything at home by myself.

i have some friends singing on the record. they're great singers, but unless you live in fort greene or washington heights you might not know about them, as they're relatively unknown (working with friends is almost always nicer than working with rockstars).

i started working on the album about a year ago, and the creative impetus behind the record was hearing a david lynch speech at bafta, in the uk. david was talking about creativity, and to paraphrase, about how creativity in and of itself, and without market pressures, is fine. it seems as if too often an artists or musicians or writers creative output is judged by how well it accommodates the marketplace, and how much market share it commands and how much money it generates.

in making this record i wanted to focus on making something that i loved, without really being concerned about how it might be received by the marketplace. as a result it's a quieter and more melodic and more mournful and more personal record than some of the records i've made in the past. it's also, for better or worse, all homemade, in that i recorded it at home with my friends and drew the artwork with a black sharpie on copy paper.

the first single (if you can call an instrumental with no vocals that we're giving away for free a 'single') is called 'shot in the back of the head', and i'm happy to announce that david lynch has done the video for it. i sent him the music and said, 'please do whatever you want'. so he sat down and drew some animation that is very dark and beautiful. david lynch is my favorite film director, and i'm really happy to have him as the first video director on 'wait for me'.

i mixed the record with my friend ken thomas. he's an amazing mixer/producer, and he's worked with everyone from sigur ros to throbbing gristle to m83. mixing the record with him was really nice, as he's creatively open to trying anything (like recording an old broken bakelite radio and running it through some broken old effects pedals to see what it would sound like. it's on the record as a :45 second long track called 'stock radio'). and as a geeky technical aside, we mixed the record using purely analog equipment in true stereo, akin to how records were mixed in the late 60's (some of the songs sound pretty amazing in headphones, if i do say so myself...).

ok, that's it.

oh, one last thing, i've worked hard recording and arranging the album as a cohesive body of work. i fully understand that most people listen to individual tracks here and there, but i ask that you listen to the album from start to finish even just once.

thanks,

moby

you're on the moby e-mail list?

dear moby,

stop spamming me.

thanks,

bort

i thought you were going to followup with, "he wants his __________ back."

Re: Remove

yeah. i only ever get emails when he releases an album. so like once a year at the most. he just doesn't stay in touch like he used to.

tie it to a chair
the house music will blare
and turn your ears into
a medicinal jelly

O how the mighty have fallen. I recall a time when Moby was like a big deal. Personally, I still like lots of his stuff even if he has thrown out some clunkers as of late. He's done enough I've liked that I'm still curious when he has something new coming out.

I could have sworn XIX posted something about being emailed by Moby every day.

Yup, I read the same thing. Guess she deleted her post.

"Somebody with glasses is gonna get hit"


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ha, I did and then decided I didn't want to g et into it.

Hipster.

ha ha ha ha.