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 Once just a casual participant in a burgeoning rave scene, Moby (aka Richard Hall) was thrust into the spotlight when one of his early dance tracks, “Go,” became a hit in the U.K. Though he was one of techno’s first “name” stars – a reputation fueled by the New Yorker’s passionate live performances – the multi-talented artist always shied away from the complacent conventionality of many DJs and strictly refused to limit himself to one style of music. He shifted from hardcore techno to ambient to punk to neo-classical tunes, giving little regard for the commercial impact of his musical direction. Dedicated workaholic, techno artist, DJ, punk rocker, sonic mixologist, devout Christian, philosopher, vegan, environmentalist, non-drinker, -smoker, -drug-taker, and last but not least, direct descendant of Moby Dick author Herman Melville, Moby always seems to have something up his sleeve. Just when you think you’ve got a handle on his music, Moby chucks it out and moves onto something entirely different. | |||||||||||||||||||||||||||||||||||||||||
NYROCK: |
You've often been called one of the most innovative musicians. How do you feel about it and where do you get your ideas from? | |||||||||||||||||||||||||||||||||||||||||
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MOBY: |
If you look at the history of innovation in music, it all happens by accident. Innovative music has never come, from my perspective, from a bunch of academics sitting around trying to make innovative music, with the exception of maybe John Cage. But even the musique concrete guys were just messing around, making accidents. Look at rock 'n' roll, hip hop, jazz, and blues. These were all types of music that sort of happened by accident. Hip hop wasn't a bunch of academics sitting around trying to create a postmodern form of music. It was basically some guys in a parking lot in the South Bronx trying to have a party. Rock 'n' roll was invented by white-trash guys trying to sound black. House was invented by DJs who wanted to make cool-sounding records. They weren't trying to be avant-garde and experimental. They just wanted to make something that appealed to them. | |||||||||||||||||||||||||||||||||||||||||
NYROCK: |
A lot of people see music rather traditionally. For them, electronics have no place in music and they hate dance, techno and everything that just varies slightly from their idea of "pure" music. Obviously, you don't share their view. But what's your take on it? | |||||||||||||||||||||||||||||||||||||||||
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MOBY: |
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NYROCK: |
It seems strange that you're more popular in the UK than in the US.... | |||||||||||||||||||||||||||||||||||||||||
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MOBY: |
Hey, my albums don't just sell in the UK; I also went platinum in the US and a couple of other places, but I have to agree that Europe seems to be more open to electronic music. To be honest, I don't know why electronic music hasn't really taken off in America. It is certainly there but people don't recognize it as electronic music. When I put out songs in Europe, they get played on the radio and on MTV, and I sell a lot more. But a long time ago, I decided that my criterion for success wasn't going to be based on record sales. If I make a record and it sells well, that's great, but I don't want to second-guess myself based on sales. But I think it's also interesting to broaden our definition of electronic music. Essentially, Puff Daddy is an electronic-music artist. Puff Daddy, Jay-Z. They use the same things to make their records that Aphex Twin uses to make his records. | |||||||||||||||||||||||||||||||||||||||||
NYROCK: |
You seem to confuse a lot of people by continually changing your style. Are you just experimenting? What drives you to experiment so much? | |||||||||||||||||||||||||||||||||||||||||
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MOBY: |
I like a lot of different types of music. I love electronic dance music; I love punk rock; I love classical music; I like jazz. I like everything, to be honest with you. There was a period from about 1994 to 1996 where electronic music had become very stale, and a lot of it had become just like musical wallpaper. I'd go out to a nightclub and hear four hours of music, and it all kind of sounded the same and kind of personality-less. But now I think things have gotten a lot better. I think in the last few years electronic dance music has become a lot more exciting. But, yeah, a few years ago, I really thought it has become stale and incestuous. | |||||||||||||||||||||||||||||||||||||||||
NYROCK: |
You try out a lot of different things in music. How about Moby as a person? Are you changing a lot, trying out a lot of things in your life? | |||||||||||||||||||||||||||||||||||||||||
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MOBY: |
Oh God, yes. There was a period where I was atheist, agnostic, and a period where I dabbled in Eastern religions. And when I became a Christian in 1995, I tried to be conservative. I tried to adhere more to cultural Christianity than trying to find out about the teachings of Christ. So there have been a lot of epiphanies and revelations. And I hope that it will continue to change. I would hate the idea of having a static belief system. The world is such a vast and unknowable place that I can't imagine figuring out one way of explaining things. | |||||||||||||||||||||||||||||||||||||||||
NYROCK: |
It might be a stupid question, but I am always intrigued by how an artist views his medium. What does music mean to you? | |||||||||||||||||||||||||||||||||||||||||
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MOBY: |
Music is such an amazing vehicle through which to communicate to thousands, hundreds of thousands, potentially millions of people and I really want the world to be a very different place. But as much as I love making records, I do feel a certain amount of guilt, firstly, being part of a consumer society and, second, generating all this plastic and bleached paper. I figure if I'm going to make CDs I might as well try and communicate something that at least I think is important for, to, people. January 2001
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