From the Golden Light 12", only available from the band on tour.

09/20/13 @ Exit In - Nashville, TN
09/21/13 @ 40 Watt Club - Athens, GA
09/22/13 @ Music Farm - Charleston, SC
09/24/13 @ Grand Central - Miami, FL
09/25/13 @ The Social - Orlando, FL
09/26/13 @ Jack Rabbits - Jacksonville, FL
09/27/13 @ Cat's Cradle - Carrboro, NC
09/28/13 @ Jefferson Theater - Charlottesville, VA
10/11/13 @ Emo's - Austin, TX
10/12/13 @ Tree's - Dallas, TX
10/14/13 @ Gothic Theater - Denver, CO
10/16/13 @ Knitting Factory - Boise, ID
10/17/13 @ Crystal Ballroom - Portland, OR
10/18/13 @ Wow Hall - Eugene, OR
10/20/13 @ Treasure Island Music Festival - San Francisco, CA
10/22/13 @ Avalon - Hollywood, CA @ *
10/23/13  @ The Glass House - Pomona, CA *
 
* w/ Chrome Sparks 

STRFKR - Golden Light (Skeletron Mix)

Buy 'Innocents':
Deluxe CD: http://smarturl.it/innocents2cd?IQid=soundcloud.description
iTunes LP: http://smarturl.it/innocentsitunes?IQid=soundcloud.description
Double Gatefold LP + CD: http://smarturl.it/innocentslp?IQid=soundcloud.description

Hear more from 'Innocents':
http://innocents.moby.com

Moby on 'Everything That Rises':

“I just thought this song had a really odd, strangely beautiful quality to it, which is why I used it to open the record. I like the idea of starting absurdly small and then getting quite big and epic about two-thirds of the way through. Hopefully, people won’t turn up their stereos really loud at the beginning to compensate, because it does get quite loud at the end; but when it begins, it’s just so thin and strange. When you first listen to it, there’s a chance you’ll wonder what’s wrong with your stereo! 

It’s hard to talk about instrumentals because… they’re instrumentals: It’s difficult to say, “The song is about this,” because technically it isn’t about anything. And I never know what to name them, either, so I figure, why not pay homage to my favorite writers and borrow their titles? I’ve named a few of my songs after Southern Gothic stories, and this one comes from “Everything That Rises Must Converge,” which is a Flannery O’Connor story.”

Innocents

Everything That Rises

Buy on iTunes

Buy 'Innocents':
Deluxe CD: http://smarturl.it/innocents2cd?IQid=soundcloud.description
iTunes LP: http://smarturl.it/innocentsitunes?IQid=soundcloud.description
Double Gatefold LP + CD: http://smarturl.it/innocentslp?IQid=soundcloud.description

Hear more from 'Innocents':
http://innocents.moby.com

Moby on 'Saints':

“‘Saints’ was supposed to be a song with vocals – a big New York 1984 almost freestyle type song. Originally it was just drums, bassline, and synths;
it kind of reminded me of something you would’ve heard at Danceteria in ’84 -’85,  pre house music. But I was never able to write good vocals for it. By the end, I kept adding more strings, more orchestral elements, more drums, so I ended up with an instrumental that was so filled, there just wasn’t room for real vocals on it.
I like music with vocals, but having an instrumental on a record provides a moment where the listener doesn’t have to be as engaged, so you can kind of take a little break; the parts of your brain that are engaged by people singing can quiet down for a minute and you can just relax. 

Spike said ‘Saints” reminded him of ‘Slave to the Rhythm’ and ‘Unfinished Sympathy’: when he told me that, I listened to them, and was like, ‘Oh, yeah – you’re right!’ It wasn’t intentional, and I wasn’t aware of it when I was working on it, but afterwards I was like, “Yeah, I hear it.” If you listen to records enough, eventually they are going to infect how you make your own music. The fact that “Unfinished Sympathy” is one of my favorite songs of all time, and “Slave to the Rhythm” is such an inspirational piece of music, it’s not surprising that some of those elements would come through in what I do.”

Saints


Buy 'Innocents':
Deluxe CD: http://smarturl.it/innocents2cd?IQid=soundcloud.description
iTunes LP: http://smarturl.it/innocentsitunes?IQid=soundcloud.description
Double Gatefold LP + CD: http://smarturl.it/innocentslp?IQid=soundcloud.description

Hear more from 'Innocents':
http://innocents.moby.com

Moby on 'Tell Me':

“‘Tell Me’ is so much about the atmosphere. The way we mixed it, most producers or mixers wouldn’t mix a song where everything has reverb on it: the kick drum, the snare, the hi-hats, the pads, the vocals. Basically, It was like, ‘Why don’t we just turn up the reverb and see what we have.’ The finished product is really messy, but I like that it creates its own odd, washy, atmospheric, world.”  Oddly enough I was thinking of 'PSK What Does It Mean?' by Schoolly D as the inspiration for the mix."

Tell Me (feat. Cold Specks)

Buy & Stream

LAMB - Gorecki

A rmx of ostentatious, this cool shout out montell fish and john glacier 🫶

Montell Fish, John Glacier - Ostentatious (uforia RMX)

Black Water

Connect with Agnes
Website: http://agnesobel.com
Facebook: http://found.ee/agnesfacebook
Twitter: http://found.ee/agnestwitter
Spotify: http://found.ee/agnesspotify

Familiar

Every once in a while we surface to share our music and shed some light in an otherwise bleak reality. And that time is soon upon us, Ladies & Gents. Our third installment, called "Junior", will be out on the 23rd of March 2009.

Junior

This Must Be It

Buy 'Innocents':
Deluxe CD: http://smarturl.it/innocents2cd?IQid=soundcloud.description
iTunes LP: http://smarturl.it/innocentsitunes?IQid=soundcloud.description
Double Gatefold LP + CD: http://smarturl.it/innocentslp?IQid=soundcloud.description

Hear more from 'Innocents':
http://innocents.moby.com

Moby on 'A Case For Shame':

“I had this idea to make a video for ‘A Case For Shame’ which actually ended up informing the entire visual scheme of Innocents. In the video, someone dies – maybe they killed themselves out of a sense of shame – and they enter this other world, populated by these ghost creatures wearing masks. They look scary, but they’re actually covering their face because they’re ashamed. When you see someone wearing a scary mask, the first thought is, “What’s going on? That’s intimidating.” But they’re actually hiding – it’s the most blatant act of concealing oneself. ‘A Case For Shame” is one of two songs I collaborated on with Cold Specks. She’s quite shy, and preferred to be left alone in the studio, so I’d hit ‘record,’ go have some tea, then come back in and press ‘stop.’”


A Case For Shame (feat. Cold Specks)

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