Video for the single 'One Time We Lived' directed by Robert Powers

Animated version of the video for the new single 'Mistake'. Directed by Robert Powers, for more information visit: http://moby.com

Taken from the new album - Wait For Me (out 30th June) - moby.com Moby on 'Hope Is Gone' "I love torch songs. I love that aesthetic. I love that rock ‘n’ roll happened, but in a way I wish that that quiet torch song music of resignation, it sort of died when rock ‘n’ roll entered the picture, and I really miss it. I’m sort of trying to bring it back a little bit, i guess. It’s a straightforward song about resignation; the woman singing it, she’s given up, she’s content to sit at a bar for the rest of her life. The vocalist is Hilary Gardner, she was born at the wrong time. She should have been born in 1935, just her vocal approach and her voice… Put her in front of the crummiest microphone and she sounds like a young Patti Page -- and a funny historical side note: she’s from Wassilla, Alaska, Sarah Palin’s hometown."

Taken from the new album - Wait for Me (out 30th June) - moby.com Moby on 'Isolate': "Its sort of like Nick Drake with a drum machine and no vocals. It might not sound like it was produced strangely, but by contemporary standards it was recorded and produced in very old-fashioned ways. The guitar on this was very clean, and I re-recorded it and re-recorded it until I ended up with this noisy, messy, nasty guitar, which all of a sudden felt right to me. I just wanted a pretty, mournful, and reserved ending to the record."

Taken from the new album - Wait for Me (out 30th June) - moby.com Moby on 'Wait For Me': “I was listening to the first Black Flag album, Damaged, and some of the lyrics on that are so despairing and harsh. So I had that little piano riff and I wrote the lyrics around that – it’s just a mournful song of quiet despair, strangely enough inspired by Black Flag. Theoretically, I feel like Henry Rollins could have written the lyrics, even though the song is quiet and pretty. There’s nothing that’s not mournful about the lyrics; there’s no subtlety here.”

Taken from the new album - Wait For Me (out 30th June) - moby.com Moby on 'Stock Radio': "I bought a Bakelite radio on eBay for a friend of mine, and it didn’t work; it just made this weird tone. So I recorded it through a very rudimentary pitch-shifter, so that’s just me playing around with a broken Bakelite radio through a crummy old pitch-shifter."

Taken from the new album - Wait for Me - http://moby.com Moby on 'Walk With Me': A friend of mine heard this and thought the vocals were a sample. I was like, Oh no, shes 26 years old and lives in Los Angeles. I did process her vocals, she has a very raspy voice and I wanted them to sound even older. But he thought it was 78-year-old woman from 1950. No, she wears purple jumpsuits and lives in LA and goes out and drinks too much. Thats one of the songs that has only one chord. I love the discipline of that: having one chord and keeping it simple and doing stuff melodically around it and arranging stuff around it. The lyrics are from a very old spiritual. I wanted to create the juxtaposition of the old plaintive spiritual elements with old analogue synthesizers and broken old drum machines. Everything on there is broken down: the vocals sound broken down, the synthesizers are old and crummy and broken down.

Taken from the new album - Wait For Me (out 30th June) - http://moby.com Moby on 'Division': "Division is a simple, classical composition. Looked at objectively i guess there’s complicated stuff going on in there, but I don’t want anyone to hear the complicated stuff. The orchestration, the chord voicings - if you’re a music theorist it might strike your fancy a little bit. But I don’t want anything to come between the listener and the emotional content of the music. I don’t want anyone to sit back and think, ‘Is this difficult? Am I supposed to appreciate this intellectually?"

Taken from the new album - Wait for Me - moby.com Moby on 'Jltf 1': "Having lived in New York for a long time, there’s a lot of vice and degeneracy – there’s celebratory vice and degeneracy and then there comes a time when vice is no longer celebratory and it becomes a way of life and you’re no longer going out, you’re staying in. This song is about two drug addicts in a relationship who disappeared down the rabbit hole of hardcore drug addiction. Almost everybody I know either is or has been a drug addict. When I was growing up, my mom and her friends did a lot of drugs, but harder drugs always seemed really scary to me. But at some point I realized I became inured through exposure to drug use. Everyone I knew was smoking crack, smoking meth, and shooting speedballs and dying of overdoses and it became normal. So that’s sort of what this song is about: my friends are all junkies and it’s just normal, it doesn’t seem weird anymore, which in and of itself seems really weird. The way drug use is demonized, almost from a Victorian perspective, and I don’t think people should do addictive drugs because they become addicted to them and they’re miserable. But the reason people do drugs more often than not is they want to be happy. We think of drug users as being subhuman and living in gutters and the people who sell drugs are mean people who use guns. At the end of the day, someone who’s doing drugs wants to feel good, like a child eating Oreos. There’s nothing nefarious about their intentions – it’s just someone trying to feel better than they normally would, with that added bonus of nihilism thrown in there. That was the inspiration behind that song."

Taken from the new album - Wait For Me (out 30th June) - moby.com Moby on 'Pale Horses': "I know that no one apart from studio geeks want to hear about studio tricks, but one of my goals with this record was to make a lot of it sound older than it was. Not retro sounding or nostalgic sounding, but in a lot of newer recordings i find that everything's really bright and I just wanted the vocals on this song to sound like conversational vocals. With Pale Horses, its my friend Amelia singing. More often than not, when I work with a singer, they come over, I play them the song once, I put a mic in their hand and have them do a rough version of it. Then they come back later and do a more polished version. 90% of the time I never even consider using the polished versions. So this is her holding a $70 microphone, no headphones, just singing it with me holding the lyrics in front of her pointing to the worlds. She didn't know the song, so her performance had a vulnerable, na•ve quality. When she knew the song better and I recorded it with a better mic, it sounded too slick. But this version still sounded too polished for me, so I took her vocals and put them on a weird old 1/8" tape machine and re-recorded that back into the song."

Taken from the new album - Wait For Me (out 30th June) - moby.com Moby on 'Slow Light': Originally that was going to be the first track on the record. In general, its a mournful record; it has a lot of resignation and sadness. This song is a little more optimistic even though its an instrumental; its a little prettier, there are some major chords in there even. I wanted to try to do something a little more optimistic at the end of the record; I didnt want people to kill themselves after listening to the record.

Taken from the new album - Wait For Me (out 30th June) - moby.com Moby on 'Ghost Return': “If someone were to describe this as Lynch-ian, I’d say that is very Lynch-ian. It is just a weird piece of lo-fi music I recorded. The drums are recorded as thin and terrible as you possibly could record drums. There is a kick drum in there, but I challenge anyone to find it. The guitars were recorded through these old, broken effects. Mixing it was really a challenge because there was so much noise that it almost overwhelmed the music. But I liked the way it felt, so I just wanted to put it on the record.”

Taken from the new album - Wait For Me (out 30th June) - moby.com Moby on 'Shot In The Back Of The Head': “I wanted the songs on this album to start with one musical element, and then by the middle they’re quite different. So with this one, it starts off a little disconcerting, this weird backwards guitar part, and then the drums come in and they’re only in one channel so they sound really thin and strange. It takes about 50 seconds for everything to come in, but when everything does come in it’s, hopefully, like this avalanche of sound falling over you. Production-wise, that’s the song I’m most proud of. It sounds really good on headphones.”

Taken from the new album - Wait for Me - moby.com Moby on 'A Seated Night': "Theres a very specific inspiration for this. Six or seven years ago I was in a taxi and there was a Haitian taxi driver and he was listening to a Haitian choral church service that had been recorded by his cousin. It was the worst recording, and played through like a Radio Shack cassette player, but it was the most beautiful thing Id ever heard because it was all small and atmospheric and amazing. So with this song, I sought out a vocal sample that reminded me of that."

New album 'Wait For Me' out now: http://moby.com/wait-for-me

when i was 19 years old i worked in an independent record-store/head-shop in darien connecticut, named 'johnnys'. part of my job at johnny's was to draw a little cartoon on every single bag that left the store, which was odd, as i didn't know how to draw. but i came up with a quasi-self portrait ('the little idiot'), and now after all these years he's still around on the cover of 'wait for me', in the 'pale horses' video, and also in these 'blips' that we've made for every track on the album. what is a 'blip'? good question. a 'blip' is a 30 second animated music video. and we've made 16 of them (as there are 16 songs on the record). we'll be launching some now, and some later. i hope you like them. moby More info about 'Wait For Me' can be found at moby.com