Music
11 of the best Moby deep cuts, curated by Eris Drew
Ahead of her Moby-featuring debut on !K7's iconic DJ-Kicks mix series, T4T LUV NRG co-founder, Motherbeat high priestess, and expert crate digger Eris Drew has compiled a list of hidden gems from the electronic pioneer
'DJ Kicks: Eris Drew' is out tomorrow (November 14) via !K7 Records. Pre-order it here.
Moby has been a musical and personal inspiration since I first bought the maxi-CD for 'Go' in early 1991. He has remained outspoken about animal rights and unashamed to connect his music to spiritual themes, despite being criticized by some for doing so. His willingness to approach techno not merely as machine music, but as a vehicle for exploring his own life, insecurities, and subjective moments, resonates in my own songwriting to this day.
Read this next: The Mix 043: Eris Drew & Octo Octa
Below is a selection of my favourite deep cuts by Moby. For an artist I’ve loved for over 30 years, it amazes me that I still find hidden gems in his catalogue while crate digging.
1 Eskimos and Egypt 'Fall From Grace' (Distressed Mix by Moby)
My DJ-Kicks features his remix of Eskimos and Egypt. As I interpret it, 'Fall From Grace' is about eschatology — humanity’s fall from grace as we abuse the planet, our animal siblings, and one another — a theme perhaps even more prescient now than when it was released in 1992.
2 'First Cool Hive'
On my track 'Hope In A Smoke Filled Room' - an exclusive for my DJ-Kicks - I wanted to play the bassline on my Fender Jazz Bass. Moby’s electric bass on 'First Cool Hive' is great and served as an inspiration, alongside some of my favourite Meat Beat Manifesto tracks.
3 'Drop a Beat' (Deep Mix)
In the early '90s, I was obsessed with 'Go', so I took a chance on Moby’s second single, 'Drop a Beat'. The maxi-CD included a special 'Deep Mix' that still resonates with me today. In the early ’90s, it was common for electronic acts to remix their own tracks rather than hire outsiders — Moby’s early 12-inches and CD singles were packed with his own alternate takes.
4 'Heaven' (LP Version)
A pure instrumental from Moby’s second full length album 'Ambient', 'Heaven' truly lives up to its name. I often listen to it on repeat, letting myself dissolve into its atmosphere over long stretches of time.
5 'Feeling So Real' (Moby's Dub)
The original mix is euphoric and high energy, but this dub is the one for me. The drum circle–like hand percussion, breaks, and resonances are pure Motherbeat.
6 'Bed'
Released in 2002 under Moby’s alias M-H as part of a five-part series, 'Bed' arrived a few years after his Sony era hits like 'Porcelain'. I found it while digging through 10-inches at Gramaphone Records in Chicago (yes, that’s the correct spelling). When I realised it was Moby, I was delighted — 'Bed' felt like a return to form.
7 'All That I Need Is to Be Loved' (Moby Dub)
This 1995 dub is on the same drum-circle tip as 'Feeling So Real' (Moby’s Dub), but here Moby delivers a pure acid groover. The 303 line and tuned percussion intertwine to co-constitute the dub’s melody.
8 'Go!' (Soundtrack version)
Most of my friends prefer the 'Woodtick Mix', but the 'Soundtrack Mix' has always been my favourite. Yamaha’s SY-series synths appear to be fully deployed here, with the track’s bassline acting as both kick and bass. When I play this in my car, I always turn my dedicated subwoofer knob to eleven.
9 'Fractal Zoom' (Mary's Birthday Mix by Moby)
In the early ’90s, before my first rave, I was hungry for new sounds. I’d haunt my local suburban music store, reading the backs of CD singles for context clues. I had no idea who Brian Eno was; I bought this single solely because I spotted Moby’s name in the fine print. I am so glad I did, ‘Mary’s Birthday Mix’ remains one of my favourite remixes ever. It’s featured on the second edition of my Mystery of the Motherbeat mix series.
10 'God Moving Over the Face of the Waters' (LP version)
I love Moby’s pieces for strings and piano. 'God Moving Over the Face of the Waters' imagines a “small g” god awakening to the beauty of the natural world she has created. Its phrasing recalls Steve Reich’s works for piano and mallet instruments.
11 'Alone' (LP Version)
'Alone' is another piano-and-strings piece, this one from Moby’s 1996 album 'Animal Rights'. Though the record’s punk tracks puzzled some fans at the time, it contains classic Moby moments like this one, and the vocal tracks paved the way for his later pop output. I love the cover art for the LP, which depicts the moments after childbirth in a gentle way, suggesting an equivalency between human and animal rights. Moby has been advocating for animals for decades. In my opinion, our world would be a better place if we accepted animals as part of our family rather than twisting meaning to pretend we are separate in this shared experience of consciousness.
Eris Drew's !K7 DJ-Kicks mix is out tomorrow, you can buy it here.
