Moving from punk to symphonic music, even if it takes thirty years, isn’t something just anyone can do. Especially if, along the way, you zig-zag between techno, house, rock, ambient and even punk revival (with the album Animal Rights in 1997).  In 2021, Moby is still twisting and turning to avoid any and all labels that people might try to stick on him. The man who has become the image of the stereotypical "bedroom producer" is once again taking the world by storm with this collaborative album of covers featuring the likes of Gregory Porter, Jim James of My Morning Jacket, Mark Lanegan, Víkingur Ólafsson and the Budapest Art Orchestra. What's more, this album is being released with the most prestigious of classical music labels: Deutsche Grammophon.  It all started in 2018, when Venezuelan conductor Gustavo Dudamel took Moby to see the Los Angeles Philharmonic. This concert took him back to his childhood days, when he was raised on classical music. It reminded him of the ability that orchestras have of expressing nuance, depth, and emotions in much greater detail than a pop song can. And we have to pay tribute to the talent of the Budapest Art Orchestra, which successfully reframes Moby's radio hits. Natural Blues takes on an unsuspected breadth, thanks to the ensemble's backing vocals and Gregory Porter's soulful voice. Jim James' contribution renders Porcelain more poignant than ever.On Go, the Hungarian string section does most of the work, lending the song an even more epic quality. For the soaring, serene rendition of Heroes, a tribute to his personal hero David Bowie, Moby invites his favourite singing partner, Mindy Jones, with whom he has worked on Everything Was Beautiful, and Nothing Hurt and Innocent.  The Lonely Night also deserves special mention. The deep and comforting timbre of Kris Kristofferson’s voice makes this a perfect song for evenings by the fireside. It is just one more stylistic innovation in an album that's stuffed full of them. Despite the star-studded cast and the emotional richness of the material, this track sees Moby enjoying the simple things. © Smaël Bouaici/Qobuz

During the six years that separate Carolyn's Boy from its predecessor When Was the Last Time, Darius Rucker reunited with his old mates in Hootie & the Blowfish, a decision that seemed to have absolutely no effect on the form or content of this 2023 album. Rucker picks up precisely where he left off with When Was the Last Time, never acknowledging COVID-era turmoil or any musical trend: he's simply resumed making resolutely relaxed music. "Beers and Sunshine," a number one Billboard Country Airplay hit from back in 2020, serves as the record's touchstone. Sunny, cheerful, and just clever enough not to be dull, "Beers and Sunshine" has many companions on Carolyn's Boy, including "Same Beer Different Problem," which has just enough recognizable drinking song tropes to be comforting, and just enough twists to sound fresh. The same could be said about a nostalgic ode to lovers lost ("Sara," which was co-written by Ed Sheeran), family, and home, all familiar topics for Rucker and delivered in a familiar fashion, but the singer/songwriter and his collaborators -- primarily longtime associate Ross Copperman, but there is a bevy of co-writers here, along with the vocal group Chapel Hart on "Ol' Church Hymn" -- are sharp craftsmen, managing to make Carolyn's Boy into a satisfying piece of polished professional country-pop.© Stephen Thomas Erlewine /TiVo

Nearly all of Moby's major full-lengths since his 1995 critical breakthrough Everything Is Wrong have been accompanied by remix albums, ambient translations, or other reworks of his material. Reprise, released by Deutsche Grammophon in 2021, consisted of full orchestral re-recordings of his most familiar songs (as well as a cover of "Heroes" by primary influence and close friend David Bowie), accompanied by a cast of guest vocalists including Gregory Porter, Mark Lanegan, and Jim James. Reprise Remixed focuses on nine of the songs from Reprise, with several appearing in multiple versions. Many of the remixers attempt to do something new with the source material, which is welcome, since even the most casual Moby listener has heard the original versions of these songs countless times. "Go," for instance, has seen an infinite number of remixes since it jump-started Moby's career in the early '90s, and he impressively manages to refresh the song with his own "Trophy Mix" (presumably named after his short-lived underground Mute sublabel, Trophy Records). The track starts out with heavy bongos, shakers, and kick drums, taking more than two minutes to arrive at its dramatic Twin Peaks melody, and splendidly combining orchestral grandeur with raw beats. Anfisa Letyago's mix of the same song is more subtle and levitating, only briefly working in that haunting string melody. The most radical deconstruction on the album is Bambounou's take on "Porcelain," which submerges Moby's and Jim James' vocals in ring-modulated glitchiness and Richard D. James Album-style skittery breaks. Efdemin also contributes two contrasting versions of "Porcelain," a hypnotic minimal techno mix followed by a much more relaxed Kruder & Dorfmeister-esque dub. The biggest, boldest house tracks on the release are the reinterpretations of the gospel-derived hits from Play, although Moby's own "West Side Highway Remix" of "Natural Blues" goes for more of an organic, guitar-based funk angle, and Max Cooper pulls the song apart with excessive time-stretching on the vocals, eventually heating it up to a fervor with stomping beats and atmospheric strings. As with nearly all remix albums, particularly ones with multiple versions of the same songs, Reprise Remixed is uneven, but it's much more varied and surprising than the faithful, big-stage adaptations of Reprise, and it does find creative ways to approach well-worn material from a variety of fresh perspectives.© Paul Simpson /TiVo

Download not available

On Ringo Starr's 1973 ditty "Oh My My," the Beatle challenged listeners with "Can you move? Can you slide? You can boogie if you try." On OneRepublic's fourth outing of the same name, there's plenty of boogie to inspire even the heaviest of hearts. The band hasn't broken stride following its 2013 hit album Native -- which went platinum in eight countries and spawned no less than six hit singles -- continuing an unstoppable flow of bright anthems designed to comfort and uplift. The Native world tour would set the stage for the creation of Oh My My, which was written and recorded all over the globe. London, São Paolo, Paris, Berlin, Tokyo, Mexico City, Sydney, Reykjavik, Milan, Stockholm, Istanbul, Toronto, Jerusalem, and Moscow were just some of the locales where Oh My My came to life, the settings inspiring Ryan Tedder and the band -- Zach Filkins, Drew Brown, Brent Kutzle, and Eddie Fisher -- as much as the fans they met on the journey. Tedder's knack for synthesizing the sounds of whatever is popular at the moment and turning them into huge, easily digestible tunes seems to have only improved. Much like Sia, Tedder seemingly snaps his fingers and hits appear, so many that they can afford to share them with other artists or keep them for their own projects. As such, Oh My My continues the trend of OneRepublic albums sounding like singles collections rather than one cohesive concept. It's a grand pop album from a proficient rock band, similar to contemporaneous albums by Coldplay, Maroon 5, Kaiser Chiefs, and Paper Route. As usual, if a couple songs were relegated to the bonus deluxe version, the overall flow of the album would be much stronger. However, the sheer number of highlights remains undeniable. "Kids" might be the greatest song that Tedder has penned thus far (apologies, "Counting Stars"), delivering an almost unbearably rousing chorus that overwhelms with its power and joy. "Future Looks Good" sparkles with embellishments found on Coldplay's A Head Full of Dreams, while "Oh My My" struts with a funky disco bassline provided by French duo Cassius. Other notable guests include Santigold on "NbHD" and one of Tedder's biggest inspirations, Peter Gabriel, on the '80s synth jam "A.I." There are only a few breaks in the boogie, with drama provided by a choir on the Sam Smith-channeling "Choke" and the airy piano ballad "Fingertips," which features the xx's Romy Madley Croft. Overall, Oh My My is another solid record from a group led by one of the best songwriters of a generation.© Neil Z. Yeung /TiVo

Four years after the release of the twin-threat blockbuster film and album, the team behind Marvel Studios' Black Panther returned with a sequel and its accompanying soundtrack, Black Panther: Wakanda Forever. Still reeling from the passing of actor Chadwick Boseman -- both in real life and onscreen -- they managed to honor his legacy and push the character's story forward in respectful and appropriately mournful fashion. The songs follow suit, setting a somber and reflective tone that is punctuated by moments of celebration and an eye to the future. Split between two cultures that inspired the fictional kingdoms of Talokan (Mayan) and Wakanda (Nigeria), director Ryan Coogler and producer Ludwig Göransson curated a diverse set to support the film, capturing attention with global names (Rihanna, Future, Burna Boy, Stormzy) and showcasing artists that may be lesser-known outside of their genres (DBN Gogo, Vivir Quintana, Foudeqush, Fireboy DML). On the Talokanil/Mesoamerican side, the glimmering synths of "Con La Brisa" capture the shimmer of Namor's submerged home, while "Laayli' kuxa'ano'one" (by Adn Maya Colectivo, Pat Boy, Yaalen K'uj, and All Mayan Winik) and "Mi Pueblo" (by Guadalupe de Jesús Chan Poot) inject Mayan into the mix. Meanwhile, the haunting "Árboles Bajo El Mar" performed by Mare Advertencia Lirika and Vivir Quintana and the urgent "Inframundo" by Blue Rojo provide two of the most riveting vocal performances on the album. Taking it back to Wakanda and the African diaspora, Tems pulls double duty, first by gifting an un-retired Rihanna with the beautiful ballad "Lift Me Up" and then delivering her own take on the Bob Marley classic "No Woman No Cry." South African producer DBN Gogo also provides a pair of hip-shaking tracks from the amapiano subgenre ("Love & Loyalty [Believe]" and "Jele"). Additional highlights include Fireboy DML's uplifting "Coming Back for You"; the hypnotic "Anya Mmiri" from CKay and PinkPantheress; and the pulse-pounding "They Want It, But No" by Tobe and Fat Nwigwe, which matches a similar standout track/scene from the first movie ("Opps" by Vince Staples and Yugen Blakrok). This wealth of diversity makes Wakanda Forever a treasure trove, an immersive experience that uses fictional lands as a means for discovery of real-world cultural traditions.© Neil Z. Yeung /TiVo

Bryan Adams has always advocated for more rock in the world, and this time he does so with the help of—would you believe it—John Cleese! The famous member of Monty Python lent his voice to the introduction of Kick Ass, one of 12 songs that feature in the Canadian’s fifteenth album. Parodying a preacher’s sermon, the comedian talks of an angel, dressed in boots and blue jeans, who was sent to earth to spread the good word of rock’n’roll. Humour and guitars go hand in hand on this record, perfectly capturing the tone of the album. The title track, So Happy It Hurts, is a tribute to spontaneity, whilst Never Gonna Rain conveys an almost divine sense of optimism. This release goes to show that Bryan Adams hasn’t strayed far from his status as the prince of happiness. The Run to You singer is still just as captivating too; Just Like Me, Just Like You and I’ve Been Looking For You pay testament to that. The track On the Road sees the 60-something reminisce about his lengthy career, recounting his 45 years of non-stop world tours. The word “Up” appears many times on the album, and this can only mean one thing: the pandemic hasn’t dampened Bryan Adams’ lust for life, and he’s keen to share his positivity with his listeners. ©Nicolas Magenham/Qobuz

When Ty Dolla $ign wants to get your attention, he doesn’t half-ass it. Featuring Ty Dolla $ign is made up of 25 songs. The album name reflects both the ironic and egocentric sides of his music. The Californian is great at exploring relationships and the various agonies that go with it (particularly monogamy). Then, like reading a narcissist’s diary, you get a glimpse of his contradictory feelings. Time Will Tell depicts a man who is detached from the female population - one who needs to be alone but also needs to always have someone on the go. The hit-worthy song Expensive evokes his efforts made to conquer his dream woman and Ty invites Nicki Minaj onto the track. The album stands out thanks to the depth of some productions, especially tracks Lift Me Up, featuring the two bosses of trap - Young Thug and Future - and the hit released this summer, Ego Death, with Kanye West and FKA Twigs. We’re treated to tasty interludes where we hear Burna Boy singing over a guitar and little snippets of vocals that are totally out of tune with the rest of the album. Despite the length and the obviousness of some collaborations (Gunna on Powder Blue and Lil Durk on Double R), Featuring Ty Dolla $ign is like its author: versatile and sensual. © Brice Miclet/Qobuz

Natalie Bergman has written, performed, recorded and produced this first solo album almost all by herself. It is her way of setting out a vision that belongs to her alone. Mercy is in a world of its own. Its twelve unique, spiritual songs, haunted by death and resurrection, are carried as much by her versatile voice as they are by her vintage sound, hailing from a bygone era. For a decade, Natalie Bergman had been singing with her brother Elliot in Wild Belle, an L.A.-based double-act which drew on pop, reggae, ska and psychedelia. But that part of her life fell apart when her father and stepmother were killed by a drunk driver. Having been brought up with a deep religious faith, Natalie decided to retire to an Abbey in New Mexico's Chama valley. It is there that Mercy was born in a clear act of catharsis. It is steeped in gospel music, which she regards as being the real source of rock'n'roll. This is a unique, timeless work in which the artist finds her own way to praise music's sacred nature and restorative powers. “My faith and my music are crucial to my existence. I sing a lot about home on this record. My Paradiso, my Heaven. Believing in that place has been my greatest consolation. I had an urgency and desperation to know that my father was there. His sudden death was a whirling chaos that assaulted my mind. Gospel music gives me hope. It is the good news. It’s exemplary. It can bring you truth. It can keep you alive. This album provided me with my only hope for coming back to life myself.”This return to the land of the living by way of gospel music is fascinating. It never falls into a churchy or preachy mode, going beyond faith. This album's sound and instrumentation owe as much to 1950s rock as they do to 1960s soul or to West African Highlife. Mercy is able to create the feeling of a musical style, but without ever being tethered to it. It should come as no surprise to learn that Natalie Bergman grew up in a house that resounded with the music of Dylan, Etta James, Pharoah Sanders, Lou Reed, Alton Ellis and Lucinda Williams. Nor is it a shock that she has been signed by a figure as wise as Jack White. His label, Third Man Records, is a tasteful establishment, and the artists on its roster are always well-versed in the music of the past... Death changed her life; her music can change yours: Natalie Bergman is a gift from heaven. © Marc Zisman/Qobuz

Blowing the promise of his Hell Can Wait EP into an extraordinary double LP, Summertime '06 finds rapper Vince Staples with all the pieces in place. His delivery is still sneering and steady with a slight sway that suggests he's stoned, but like pop gangstas Chief Keef or Future, he can craft a memorable melody out of chopped-up nonsense. Check the infectious "Senorita" for proof, but also check the brilliant "Lift Me Up" for Staples as the elevated rap writer, offering an uncompromising gangsta stance that's both classic ("They follow me while shoppin") and pushing the envelope (Staples tears down a list of fashion labels that don't respect their urban audience). Cali references abound and still the music, most of it from producers No ID and Clams Casino, makes it seem as if the rapper lives in the shadows, not just because it is dark, but also because it is equally attractive and mysterious. Even with the revered duo in fine form, it's producer DJ Dahi who takes first prize, as "Birds & Bees" sounds like a paranoid funk breakdown, thick and brittle enough to accompany lyrics like "I'm a gangsta like my daddy/My mommy called me 'her problem' when she had me/They found another dead body in the alley." Splitting this weighty and rich effort into digestible chunks, the album's physical release comes on two separate discs, making Summertime '06 an artistic triumph wrapped in conceptually fitting package.© David Jeffries /TiVo