Damien Jurado joins Moby for ‘Almost Home’, taken from his new album ‘Innocents’, which comes out on 30 Sept and is available to pre-order now, below.
Damien will also be joining Moby when he plays 3 nights at the Fonda Theatre in Hollywood on October 2, 3, & 4. Tickets available here: http://www.moby.com/fonda
“The Perfect Life” is the brand new single from Moby, featuring Wayne Coyne from The Flaming Lips. The video for the “The Perfect Life” was shot in L.A with Coyne and Moby dressed as Mariachis. The video will be premiered on September 3.
Moby comments on the collaboration with Coyne: “Wayne Coyne and I ended up doing a duet on ‘The Perfect Life’: we sing the choruses together, and then go back and forth on the verses. Wayne and I first met in 1995, when The Flaming Lips and I were both opening up for a Red Hot Chili Peppers’ European tour. We became friends, shared a dressing room and the same bad craft services, and watched the Chili Peppers from the side of the stage. I thought of Wayne for this song because The Flaming Lips have evolved in this very open, celebratory band when they play live, and that was the perfect vibe for what I was imagining for ‘The Perfect Life.’ I texted Wayne and said, ‘Hey, I have a song – want to sing on it?’ Thirty seconds later, he texted me back: ‘Yes, send it to me, it will be great.”
The single is taken from Moby’s new upcoming album “Innocents” which was produced by Mark ‘Spike’ Stent. Next to Wayne Coyne (The Flaming Lips) the album also features Mark Lanegan, Cold Specks, Skylar Grey, indie-folk singer Damien Jurado, and Inyang Bassey who was the vocalist on “The Right Thing” from Destroyed.
Moby’s ‘A Case For Shame’ is the first track to be released from his new album ‘Innocents’, which comes out on 1 Oct and is available to pre-order now:
Deluxe CD: http://smarturl.it/innocents2cd?IQid=…
iTunes LP (inc. ‘A Case For Shame’ instant download): http://smarturl.it/innocentsitunes?IQ…
Double Gatefold LP + CD: http://smarturl.it/innocentslp?IQid=y…
While we still have to wait until October 1st to hear the new Moby album “Innocents”, a new video has already surfaced on YouTube. “A Case For Shame” showcases Moby’s collaboration with fellow Mute artist Cold Specks. The video is a directorial debut from Moby and was shot by Moby at his home in Los Angeles. It features the masked characters from the album cover, Cold Specks and Moby himself under water.
Says Moby: “‘A Case For Shame’ is the first video I’ve shot and directed for one of my songs, as in addition to directing I was also the camera person. The video narrative is as follows: I’ve drowned, and I’ve gone to an after-life inhabited by people who are concealing themselves because of shame. The masks are not meant to be conventionally frightening, the masks and sheets are being worn because the after-life people are hiding, because they’re ashamed.”
For the new record Moby worked for the very first time with an outside producer, namely Mark ‘Spike’ Stent. Other collaborators include Wayne Coyne (The Flaming Lips), Mark Lanegan, Cold Specks, Skylar Grey, indie-folk singer Damien Jurado, and Inyang Bassey who was the vocalist on “The Right Thing” from Destroyed.
- Everything That Rises
- A Case For Shame (with Cold Specks)
- Almost Home (with Damien Jurado)
- Going Wrong
- The Perfect Life (with Wayne Coyne)
- The Last Day (with Skylar Grey)
- Don’t Love Me (with Inyang Bassey)
- A Long Time
- Tell Me (with Cold Specks)
- The Lonely Night (with Mark Lanegan)
- The Dogs
mobygratis.com is a resource for independent and non-profit filmmakers, film students, and anyone in need of free music for their independent, non-profit film, video, or short.
Moby has made a selection of over 150 tracks from his huge catalog of music available to licence for free, via a simple online application system. The catalog tracks from Destroyed, Wait For Me, Hotel, 18 and Play, along with a host of remixes and unreleased tracks.
To begin just create a new account, browse the catalog and fill in your application for the tracks you would like to use. You should receive a response to your application within 24 hours.
Once you have finished your film, you can share it with the mobygratis community by uploading to YouTube or Vimeo.
Moby shared his remix of iamamiwhoami’s y.
Here’s what Moby has to say about it:
i first heard iamamiwhoami at a restaurant in london a few years ago. after hearing them i emailed my manager, eric, and asked ‘have you heard of this band iamamiwhoami?’ and he wrote back, ‘yes, we manage them’.
when they asked me to do a remix for them i happily said ‘yes’, as i’m a fan of theirs. and when i heard the song they wanted me to remix i realized that i didn’t want to deconstruct it and change it, but rather just add melodic and structural elements to it, to enhance what they’d already done.
Historical interviews with the most famous electro musicians in the world have appeared in a new eBook.
The Electro Legend Interviews features interviews conducted over the past 20 years and taken from the archives of Computer Music and Future Music magazine.
Revealing their music-making techniques and inspirations are: Aphex Twin, Gary Numan, The Prodigy’s Liam Howlett, Vince Clarke, Kraftwerk’s Wolfgang Flür, Moby, Hot Chip, Alec Empire and Ultravox’s Midge Ure.
Available for just £2.99, the book sheds light on The Prodigy’s place in the early rave scene, with Liam Howlett explaining in a 1993 interview that”When rave dies there are always going to be people who will still want to dance, so as long as we keep coming out with original songs we’ll still be around…”
Meanwhile, Gary Numan discusses his classic Replicas album. Addressing the cover art, he says: “The character on the cover is called a Machman – he’s looking out on the world, looking out at the park. Outside of the park, there’s a man in a grey coat and a grey hat, which was a ghost I saw when I was much younger…”
Elsewhere reclusive genius Aphex Twin gives one of his only ever interviews. “If you plan to be good at anything, it has to happen using your own ideas. It’s inevitable. It’s exactly like natural selection,” he muses.
Speaking exclusively about the early days of Kraftwerk, WolfgangFlür comments: “We were young, shy and childish! We loved to construct things and we never thought we would get famous from that.”
The book also features Vince Clarke revealing his computer music-making secrets. “Once you’ve got the hang of the computer and the software,” he says, “then you’ve still got to write the songs…”
And discussing the history of Ultravox, Midge Ure reveals that: “In those early days, a lot of musicians saw synths as electronic guitars. We just started going bang-bang-bang. Suddenly, you got this blast of unearthly noise and it changed the musical landscape.”
“At Moogfest 2011, we sat down with iconic electronic musican, Moby, to talk about the power and importance of Bob Moog’s legacy. Moby is part of our work. You can be too. Donate: http://bit.ly/donatebmf.”
Bob Moog’s legacy lives on in the rock stars and panelists at Moogfest 2011. Find out why Bob’s extraordinary legacy deserves to be carried forward.
Featuring: Moby, Wayne Coyne, Diego Stocco, Eric Persing, Bryan Bell, Dick Hyman, Terry Riley, David Borden, Joel Cummins, Alan Vega and Torley.
Dr Benway has published this new video featuring Moby´s classic song on a Casio keyboard. The Casio SK-5 is a sampling keyboard introduced by Casio in 1987. Samples may be gathered from a built-in microphone or a line-level input from another source. The keyboard was rebranded as the Realistic Concertmate-650 for sale at Radio Shack stores.
Moby – Porcelain
2 samples are used: orchestral strings and drum beat.
The sequencer plays the samples in loop.
Moby has released the music video for his latest single, “Lie Down in Darkness,” featuring an old Russian cosmonaut looking back on his time in outer space, in an exclusive Wired premiere. The music video, directed by Luke Seomore and Joseph Bull (Institute for Eyes) was shot in London last month.
“We really liked the idea of an old astronaut in a modern city contrasted with the astronaut in his youth travelling to space,” he added.
The team worked hard to research the video, drawing inspiration from Yuri Gagarin biography Starman. They were particularly interested in the partners of cosmonauts and astronauts. “They have an interesting dichotomy: On one hand they are really proud that their other half is going into space, but there is also this great fear,” said Seomore. “This idea is explored within the music video. Similarly the astronauts have a great sense of pride but at the same time isolation, because so few people have had the same experience.”
Seomore and Bull went to great pains to find an actor with a strong enough face. “There were loads of actors who looked like dads out of butter adverts,” said Seomore. “Keith [Chanter] walked in and he felt like someone important. The funny thing is that he was actually very posh English. He’d be in the car talking in long monologues saying things like [in a plummy English voice], ‘It’s a funny old game, acting.’”
The team shot the video around London over two days in locations including South Bank and a swimming pool in Walthamstow that opened in 1968 and has all of the original fittings, giving it “a Soviet feel.”
They managed to source a real space helmet, which had to be modified to ensure that it no longer formed a vacuum around the wearer’s head. Without the air supply that would be used in space, it would otherwise have had a suffocating effect on the actor. They also sourced primitive ’60s computers and shot using uncoated lenses to give it a retro feel.
The edit was simple, but the post-production was relatively complicated because the team was keen to replicate the effects of ’60s space footage. “We wanted it to look like the footage from the original space flights where they had primitive video cameras that distorted the image to look like really grainy CCTV,” said Seomore.
Moby took a hands-on role when it came to post-production, offering quite a bit of feedback to the directing duo. “We were pretty harmonious most of the time,” said Seomore, “although he was keen to emphasize the contrast of how the ‘old’ footage was graded versus the ‘modern’ footage, whereas we wanted to keep it a bit ambiguous.”