after posting “Reprise” (Deutsche Grammophon, 21) a couple of years ago, it seems that Moby He has taken a liking to revising part of his catalogue, in a trend that usually leaves results between the acceptable and the unfortunate, but which hardly tends to prevail as a solid success. The case of the author of “Play” (Mute, 99) is no exception, and surely “Resound NYC” It was not necessary nor will it be a key asset in the already generous career of the North American. But, at the same time, the reference avoids going to swell the box of major disasters, as (for example) occurred with that offensive nonsense perpetrated by U2 in “Songs Of Surrender” (Universal, 23).
With the excuse of rearming songs composed or recorded between 1994 and 2010 in New York (and which, therefore, it can be assumed that they were influenced by the influence of the Big Apple), Richard Melville Hall delivers a total of fifteen songs starring unpublished ornaments , ambitious arrangements and a good number of guest voices. An orchestrated bet, conscientiously and at all times, with an imposing sound that shines as the guiding thread of the seventy minutes. The reference presumes (for better or for worse) embellished songs, for the most part with good taste and on other occasions exceedingly grandiloquent, but which in both cases tend to naturally assume the musician’s current ideas.
“Resound NYC” convinces (no small feat for this kind of product) in its first half, with already inspired song readings now enhanced to new life as “In My Heart” (con Gregory Porter), “Flower (Find My Baby)” (con Amythyst Kiah), “Extreme Ways” (with Dougy Mandagi), the “Helpless” by Crosby, Stills, Nash & Young (with Margo Timmins and Damien Jurado), or the still beautiful “Slipping Away”. On the contrary, it is in the final stretch where the matter becomes dense and somewhat tedious, with pieces of the type of “When It’s Cold I’d Like To Die” (con P.T. Banks)“Second Cool Hive” (with OUM and Sarah Willis) or hyenaremembering why this type of invention is usually excusable.
Whatever it was, “Resound NYC” –Second album by the author for the German classical label Deutsche Grammophon after the aforementioned “Reprise” (Deutsche Grammophon, 21) – presents as a credential and main virtue the claim of Moby as an author, beyond that blameless “Play” (Mute, 99) with which he achieved worldwide fame. A skilled composer when it comes to writing heartfelt and exciting songs, capable of leaving a specific type of residue that is now partially reactivated thanks to the selected ones. Even if it is based on a nostalgic and somewhat tricky maneuver such as re-recording your own songs with the (unimaginative) intention of presenting them in another package.