Nov 2010 18

by Nicole Powers

“The raging snark.”

– Moby

Moby could be described as a reluctant celebrity. He first found his way into the collective consciousness with the 1992 rave anthem “Go.” In the faceless world of techno culture success remained within his comfort zone. For the remainder of the decade he released his increasingly hybrid electronic-based music with little fanfare outside of the dance world. His 1999 album Play, barely made a ripple in the ocean of record sales when it first came out.

However, after a series of high profile film, TV and ad licenses, Play was propelled into the mainstream and Moby into the media maelstrom with it. Track 5 from the album, “South Side,” a little duet with Gwen Stefani, subsequently gained momentum, becoming an MTV staple for many months. It reached number 14 in the Billboard Hot 100 and number 3 on the Modern Rock singles chart in 2001. Play went on to sell over 10 million copies worldwide.

As film director David Lynch succinctly puts it, “Success is just as dangerous as failure, maybe more.” In the years since “South Side” graced the charts, Moby has not exactly been chasing similar commercial success — far from it — however many automatically assume he has. After all, money and fame are the goals of every artist right?

Wrong. Back in October of last year, when SuicideGirls last spoke with Moby, he told us he wanted his next album to be “a really emotional, beautiful record.” Expanding on the subject, he continued, “I don’t know if I will succeed, but my goal is to make something very personal, very melodic, very beautiful. And hopefully interesting at the same time.” By these standards, Moby has indeed succeeded, his new album, Wait For Me, being all that and so much more.

But, since contemporary society quantifies success in commercial terms, it’s easy for certain areas of the media to talk about Moby and his post-Play music in disparaging terms. It’s understandable therefore, that Moby looked upon his looming press day in Los Angeles to promote an “introspective” and “vulnerable” record that’s the antithesis of commercial with a high degree of trepidation.

Read our exclusive interview with Moby on