![]() Then I guess having the lyrics and the meaning that flows in that too, you know? Getting it all to knit together in a way that, if you didn’t speak English maybe, you’d still be able to feel the melody, or the sounds of the words. The music, the flow of it, keeping it moving, with no dead spots. It’s what he values more than anything: “ It’s getting everything to unify really. He finds the strands that connect all of these different styles and gently braids them together. His gift is that he brings them all together without anything sounding out of place. A 1920s pre-war blues sound is key, but there’s almost equal helpings of New Orleans jazz, jug band music, hokum, country and calypso, and he’s lately brought in elements of jump jive, early rock’n’roll and gospel. It’s probably easiest to describe him as a ‘blues artist,’ but the term disguises what makes his music special. There are multitudes in Stoneking’s music. How else to describe such a fine purveyor of American roots music who also happens to be a towering, youthful-faced white Australian man? He surprises first-time listeners, throws curveballs at long-time fans, and everything he does contains at least some background level of bafflement for all involved. Stoneking is an artist for whom ‘unexpected’ is probably the default setting. Stoneking: Musings from the Deep South to Kanye Westįirst published in fRoots issue 423, Winter 2018Ĭ.W. And now it’s almost a refuge in an at times terrifying and apocalyptic world.C.W. Back then, making music was this celebration of the potential that our world had, that our culture had. ![]() “When you think of the ‘90s,” he says, “Bill Clinton was President the rave scene was this utopian, idyllic world the Soviet Union had ended climate change was just an idea for a book that Al Gore was going to write. With Resound NYC, Moby reconsiders not just the evolution of his own work, but also a time, a place, and even a transformation in our world: “So rather than having every song receive the same orchestral treatment, I kind of built a bespoke orchestral approach for each song.” “An orchestra can be anything, it can be whatever the composer wants it to be,” Moby says. (The original version of When It’s Cold I’d Like to Die recently featured in Netflix’s Stranger Things finale). Revisiting his past whilst reimagining his future has resulted in Resound NYC, an album packed full of thrilling music, a classic reworking of definitive and era defining songs, once again reminding us of the incredible scope and relevance of Moby’s musical talent. So it was super compelling revisiting my songs and seeing whether they held up with a more traditional, non-electronic, orchestral approach.” “My first concert was Yes at Madison Square Garden in 1978. “Before I discovered punk rock, I grew up with classic rock,” says Moby. As we entered a new millennium, he turned electronic music on its head. He had already enjoyed hits with ‘Go’, ‘Feeling So Real’, and his version of the ‘James Bond Theme’, and had been asked to remix everyone from Michael Jackson to Freddy Mercury, but the smash hit Play changed everything. Moby was born in New York City, and began his music career playing in punk rock bands, and dj’ing at underground clubs in and around New York.Īfter dj’ing and touring live through the 90’s, in 1999 Moby’s breakthrough album Play became not just a commercial success but a global phenomenon. The music pioneer’s 20th studio album reflects perhaps the most defining era in Moby’s musical life, from his former home of New York City. Sign up to hear more about the process behind the recording of Resound NYC, and get updates and information on new releases and merch stuff first.
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