Moby claims that CIA approached him about the Trump–Russia dossier

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Earlier in the year, after Donald Trump’s presidential inauguration, Moby claimed to know insider information regarding Trump’s ties to Russia during the 2016 presidential election.

“After spending the weekend talking to friends who work in dc i can safely(well, ‘accurately’…) post the following things” posted Moby to Instagram back in February, “1-the russian dossier on trump is real. 100% real. he’s being blackmailed by the russian government, not just for being peed on by russian hookers, but for much more nefarious things. 2-the trump administration is in collusion with the russian government, and has been since day one.”

Moby’s diatribe continued for two more points, concluding by saying “these are truly baffling and horrifying times, as we have an incompetent president who is essentially owned by a foreign power.”

In a recent interview with Kyle Meredith of Moby has certified his previous claims about Trump, Consequence reports.

“Yeah, so years of touring and spending time in DC and New York, I’ve managed to make a few friends in the intelligence community. And I guess this is about a year ago, we were having dinner and they were really concerned — partially based,” says the electronic pioneer in the interview, “not to go too much into the weeds — this Fusion GPS report on Trump essentially being run as a Russian agent. And these are some active and former CIA agents who… they’re truly concerned”.

“Just imagine how much more dangerous he would be if he was intelligent and had emotional impulse control,” concludes Moby. “I’m really grateful that, if we’re going to have a tyrant, at least let him be stupid and incompetent.”

Photo Credit: NPR

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Showtek & Moby – Natural Blues

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After a rather tepid 2017, Dutch electro house group Showtek have seemingly hit the ground running in 2018, reinventing celebrated veteran musician Moby for what essentially seems like a rework of “Natural Blues.”

The synths and mellowed house-inspired style seem to be majorly Showtek’s handiwork, as the duo seem to be moving onto yet another new sound over the past couple of years. Moby’s influence over the track is a lot more subtle, as the seasoned artist’s work can be majorly heard in the background, especially with the soft, string-plucked chord progressions. In fact, their style plays such an instrumental role in defining the identity of this ‘new’ track, that it could almost be labelled as a Showtek remix.

This revamped, modern style has given “Natural Blues” a ton of character and makes it a track with certain danceability.




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New Music Friday: Kayzo, Showtek, Tritonal, Breathe Carolina, Lane 8

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It’s Friday, January 5th and that means that we have new music to get your weekend poppin’. As we make our first playlist of 2018, you better believe that it’s filled with some incredible new dance music songs for this week’s New EDM This Week official playlist. This past week, we discovered 58 new songs

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Showtek & Moby Join Forces For New Twist On The Classic “Natural Blues”

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While it’s been almost two decades since Moby’s ‘Natural Blues’ conquered the world of dance music, it’s safe to say the record hasn’t lost any of its allure. And now, for everyone who might have accidentally forgotten just how brilliant the Grammy-nominated song is, none other than Dutch duo Showtek teamed up with Moby for

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Moby announces somber new album Everything Was Beautiful, And Nothing Hurt, shares video for “Like A Motherless Child,” fails to cite Kurt Vonnegut in proper MLA format

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Why so serious, Moby?

After years of major adrenaline-soaked rave tunes, Moby’s Blue Period is entrenched in the End Times (see his last two albums collaborating with The Void Pacific Choir, or really, or any track from his forthcoming release). With preoccupations of global chaos and/or failing systems, gloom and/or doom, the DAT-playing vegan is officially insisting that the party’s over.

But then again, complacency and ignorance are death. And even if the famed American DJ/producer/photographer/animal rights activist’s subject matter has taken a bit of a Vonnegut-esque turn for the morose, Moby’s passion remains infectious, as he knows that acknowledgement and outrage are the first steps to changing anything.

His latest single, “Like a Motherless Child,” is a spiritual with roots going allllll the way back to the Civil War. The updated version features L.A. soul singer Raquel Rodriguez singing the recognizable hook. The single comes in advance of Moby’s forthcoming album Everything Was Beautiful, And Nothing Hurt, out March 2 on Mute. Pre-order it here, and check out the new song’s stark, mostly monochrome video clip below:

Everything Was Beautiful, And Nothing Hurt tracklisting:

01. Mere Anarchy
02. The Waste of Suns
03. Like a Motherless Child
04. The Last of Goodbyes
05. The Ceremony of Innocence
06. The Tired and The Hurt
07. Welcome to Hard Times
08. The Sorrow Tree
09. Falling Rain and Light
10. The Middle is Gone
11. This Wild Darkness
12. A Dark Cloud is Coming

Moby – “Like A Motherless Child” Video

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Moby released two albums within a year of each other with his Void Pacific Choir — 2016’s These Systems Are Failing and this year’s More Fast Songs About The Apocalypse — and he’s already following those up with another new full-length called Everything Was Beautiful, And Nothing Hurt that’s due out next year. Today, he’s … More »

Explore Destructo’s personal record crate with this new ‘OG Underground’ playlist

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Before Destructo became the king of west coast dance events and G-house’s popular champion, Gary Richards resumé already boasted the legwork that galvanized the 1990’s rave scene, creating and operating his own label, as well as a co-sign from Rick Rubin to lead Def American’s early electronic A&R channel. Richards is effectively a living time capsule of modern underground music’s most formative moments and at the root of his complexion is techno. He’s seen where it’s been from a firsthand perspective, so those looking for a crash course in underground dance history, tune in. Destrcuto has dropped off a new Spotify playlist curated to be a crate digger’s dream.

Stocked with cuts from OG’s including The Chemical Brothers, Daft Punk, Moby, Kraftwerk and The KLF, Destructo offers up a lesson in techno and house history, showing off 30 of his personal favorites. Lords of Acid, who Richards had even signed in a past life, 808 State, and The Prodigy make appearances all well, giving an inside look at the tracks that shaped the industry leading tastemaker Richards has become today. Tune in and take notes.

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Moby taps Loco Dice to remix ‘Go’ for Black Lacquer Remix Project [Q&A]

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During the 1990s, house and techno pioneer Moby inspired dance music’s collective consciousness in part by one of his most seminal releases, “Go.” The track sees Moby – also known as Richard Melville Hall – remix the B-side to his debut single “Mobility” by layering “Laura Palmer’s Theme” from David Lynch’s Twin Peaks over the original tune.

“Go” became one of Moby’s most widely celebrated releases, charting on the British Top Ten and showing Moby’s potential to shape the future of dance music. In his recently released memoir Porcelain, Moby dedicates an entire chapter to “Go,” which played a major role in his ability to popularize the dance music genre from 1989-1999.

Via a new initiative dubbed the Black Lacquer Remix Project, Moby calls on 40 of today’s most sought after producers to reimagine four of his key releases, “Go” “Porcelain,” “Why Does My Heart,” and “Natural Blues.” The project taps artists including Hardwell, Sander van Doorn, HI-LO and now Loco Dice to pay homage to the art of remixing by imparting modern spins on one of four rave classics.

In a collision of two legendary acts, Loco Dice answers Moby’s call with two remixes of “Go,” out on his own label Desolat. The two remixes embody Dice’s minimalistic house tastes cultivated across his decade long residency in his hometown of Düsseldorf, and during his 2002-2006 residency at DC-10 in Ibiza. The Tunisia-born, Germany-raised artist is a tastemaker for the next generation of dance music, imparting his global influences on both Desolat and on his artist agency Artists Alife.

Because Loco Dice began his musical journey in the 90s, the artist imparts a unique perspective on his remix of “Go.” Read about Loco Dice’s creative process below:

Have you read Porcelain?


No, not yet, but it’s on the pile of books that are next to be read.


Are you familiar with the Black Lacquer Remix Project?


Yes, I am familiar with the Black Lacquer Project. It’s about Moby opening his back catalogue to remixes. If I’m not wrong, there are four tracks: ‘Go,’ ‘Porcelain,’ ‘Why Does My Heart’ and ‘Natural Blues.’


What does Moby mean to you?


Moby is an icon. He went a long way from an underground artist to someone who made dance music accessible to the masses, while staying true to himself.


What does this track mean to you? Why did you choose this track?


I picked ‘Go,’ a well known track. Everyone knows it, and it’s actually perfect. But I thought about how ‘Go’ would sound if I combined it with something that I associate with New York: a certain house sound with big rolling drums that appeared a few years after Go. I tried to imagine if the tack would sound different if it was released in 94-95 – but of course, from my perspective today. That was the basic idea of my approach.


Any tips for up and coming producers on the art of remixing?


Try to find the essence of the track, parts and moments that inspire you to experiment and interpret. Be honest, and the your remix will be right. But the bottom line is: there are no tips. The moment when an artist gives their track free for a remix, there are no boundaries for the remixer. You are free to do your thing.


What about “Go” makes it so iconic? Is it attached to any memories for you?


‘Go’ perfectly captures the vibrant vibe of that era – excitement and a fusion of dance music styles. Around that time I was a hip hop kid, and through Massive Attack I discovered the UK sound, like breakbeats. ‘Go’ entered my life a little later and what shocked me were the beats, I could relate to it. When we talked about rave, ‘Go’ was how I imagined it. It was one of the first ‘rave’ tracks that I noticed back then in my hip hop days.


Describe your creative process for this remix. How long did it take to create, and where were you when you made it?


When I received the proposal to pick one of the tracks, it was clear that it was going to be ‘Go.’ The main part of the creative process was that I already had the vision of the early 90s NY idea of how it could have been at that time. The rest went pretty smooth in my studio, because I knew what I wanted to do.


How does it differ from other remixes you’ve done?


Every remix has its own story, its unique mood, and is made in a certain time of my life.


If Moby were to remix one of your songs, which one would you want him to remix?


If Moby were to remix one of my songs, I’d want him to remix ‘Seeing Through Shadows.’


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Moby, AlunaGeorge, and Bipolar Sunshine join Pete Tong at Hollywood Bowl

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Pete Tong continues to demonstrate his status as one of the foremost tastemakers in dance music by assembling a truly dynamic cast of artists to perform at his Ibiza Classics showcase at the Hollywood Bowl. Internationally renowned electronic music icon Moby will headline a lineup that also includes guest vocalist Aluna Francis of the lauded UK supergroup AlunaGeorge, Guy Gerber, performing his first live show in over four years, and Manchester native Bipolar Sunshine. Conductor Jules Buckley and the sixty-piece Heritage Orchestra will also be a part of this tremendous night of musical exploration.

As one of the most iconic music venues in the United States, the Hollywood Bowl is an ideal location for this groundbreaking evening of music. Tong’s vision will come to life as he and the Heritage Orchestra revolutionize the quintessential dance tracks that have defined the White Isle and dance floors around the world. Timeless classics from the likes of Booka Shade and M.A.N.D.Y.’s Body Language,  Fatboy Slim’s Right Here, Right Now, and Eric Prydz’ Pjanoo will be reimagined in bold new ways. Tong obtained his first number one album earlier this year with Ibiza Classics and after selling out multiple shows at London’s O2  Arena, the BBC Radio 1 legend is ready to bring his innovative show to one of American soil.

Moby, AlunaGeorge and Bipolar Sunshine join Pete Tong, Jules Buckley + the Heritage Orchestra at the Hollywood Bowl

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HI-LO reworks Moby’s ‘Go’ for Black Lacquer remix project [Q&A]

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In his recent memoir Porcelain, house and techno trailblazer Moby reveals how his track “Go” helped to globalize electronic dance music to its current widespread acclaim. Chronicling Moby’s ascension from 1989-1999, the autobiography dedicates an entire chapter to “Go” where the artist layers “Laura Palmer’s Theme” from Twin Peaks over the B-side to his debut single “Mobility.” “Go” quickly became a 90s rave anthem and stands today as one of the most widely regarded remixes of all time.

27 years after the release of “Go,” Moby celebrates the art of the remix by enlisting over 40 producers to rework a handful of his most seminal tracks. In an initiative dubbed the Black Lacquer Remix Project, Moby calls on a wide range of artists with diverse electronic music backgrounds to rework tracks including “Porcelain,” “Why Does My Heart Feel So Bad,” “Natural Blues,” and “Go.”

Under his HI-LO alias, Oliver Heldens puts a deep house twist on “Go” by adding thumping percussion and orchestral organ sounds to the original. The new remix embodies Helden’s HI-LO alias, revealed in 2015 to be “all about the groove, bass lines and the way the music builds up and gets people dancing.” Heldens employs bass house, tech house and underground UK house elements on the new remix, returning “Go” to the forefront of club music.

The Dutch Heldeep Records label-head joins a high-profile list of remix artists including Above & BeyondHardwellLoco Dice and more on the Black Lacquer Remix Project. Listen to HI-LO’s fresh take on “Go” below, and dive deeper into his creative process on the remix as follows:

Have you read Moby’s recently released memoir, Porcelain?

Yes, it’s a fantastic book. I really enjoyed reading about the old days, especially from the perspective of a legend like Moby.

Are you familiar with the Black Lacquer Remix Project?

Yes I am. I think it’s a really cool project with Moby reaching out to a diverse spectrum of electronic dance music artists to re-work some of his most seminal tracks. Of course I’m very honoured that I could participate as HI-LO for the “Go” remix.

What does Moby mean to you?

Moby has been a huge inspiration for me. He’s one of the biggest-selling electronic producers of all time, with his roots in rave and techno bangers. I listened to his music a lot and I still do.

What does this track mean to you / why did you choose this track?

“Go” is regularly dug up and remixed for the modern dance floor, and it carries an emotional power that continues to resonate today. I thought it would be very cool to make a remix of it. I added a raw edge to the track with cool organ sounds, sweet percussion, deep bass action and a nice melodic breakdown.

Any tips for up and coming producers on the art of remixing?

Give your own swing to the song. Find your own sound that feels personal and don’t blindly follow trends. And of course do all of that with respect to the original track.

What about “Go” makes it so iconic? Is it attached to any memories for you?

“Go” is widely considered as one of the greatest rave classics of all time. I felt that the track had a right fit with my moniker HI-LO and of course I listened to the track a lot.

Describe your creative process for this remix. Where where you and how long did it take to create?

I’m not totally sure about where I made the track. I produce a lot while on the road. I do know that it didn’t take me too long creating the remix. I was simply very enthusiastic to remix “Go” into a version that fits today’s dance floors.

How does your remix of “Go” differ from other remixes you’ve done?

The track itself is already so cool. I added some sounds but tried to keep the original alive. Instead of mixing it into a house-y track I choose a deeper side with HI-LO.

If Moby were to remix one of your songs which one would you pick?

Oh wow, I would be very honoured. If it’s up to me, he’s free to pick one out of all of my songs.


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