Moby’s eleventh full-length studio outing, the artist has identified Innocents as the album that he has waited his entire life to write - a curious, if not outrageous statement from a man who has enjoyed a career with not one but two golden ages. Despite these successes, Moby himself claims that, “[I]t’s 2013 and I’m 47-years-old, and so a) very few people listen to the eleventh album made by a 47-year-old musician; and b) very few people listen to albums. So if there were a Venn diagram of that, the number of people who might actually listen to this album from start-to-finish probably could be counted on two hands.” Glib self-deprecation or authentic self-awareness? Likely liberal doses of both, yet notwithstanding the artist’s pessimism, Innocents easily rivals the platinum-certified Play, making a legitimate case as his finest work to date. As with his previous albums, the twelve tracks mine a broad array of influences, including soul, techno, pop and of course, electronica, all steeped in lush, ambient textures and muted, lo-fi beats. Opener 'Everything That Rises' showcases Moby’s tried-and-true formula- a spare rhythmic pattern expanding as layers of moody atmospherics and sparkling melodies are progressively added until the track erupts with a dramatic crescendo. In this sense, Innocents draws from the artist’s trademark motifs while conveying a relaxed confidence all but absent in his first ten albums, such maturity embodied by smoother melodic transitions and less-cluttered spaces between notes.