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"It's fun, but I don't think of it as music," he says. "It's manufactured. I appreciate it as pop culture phenomenon and some of the songs I like if I hear them in a shopping mall or something, but it doesn't function as music for me."
Long before 'Play' became an international blockbuster, Moby cut his teeth making progressive house and techno-flavoured dance music in the '90s, with club hits like 'Go' and 'Everytime You Touch Me.' Yet he doesn't feel that the current crop of dancey Billboard bangers contain the emotional resonance of real music.
"Music is something that communicates emotion and integrity in a really interesting, direct way," he says. "And when I listen to the pop music you're describing, it's hyper-produced corporate product. That isn't really even a criticism, but I just think calling it music is a misnomer.
"It's advertising for ringtones."
Moby's latest album, 'Destroyed,' is a moody, melancholy and deeply personal document of his life as a touring musician, composed during bouts of insomnia in hotel rooms around the world. A good deal of Moby's time on the road was spent as a DJ performing gigs in clubbing capitals from Sao Paulo to Miami to Ibiza. Though he considers himself an electronic musician rather than a DJ, he admits that DJing can be quite lucrative.
"For example, if I go on tour with my band, there's seven of us on stage, and I have to pay the crew and hotels and travel and equipment rental," he says. "If I DJ, sometimes the fee is just as much, except that I show up with a box of records."
He's got some advice for young bands in a cash-strapped music industry.
"If I were a business advisor to musicians, my first recommendation would be to learn how to DJ."