Techno no

Less than two years ago, it seemed almost a foregone conclusion that Moby was the man destined to break the new techno underground in the resistant rock-loyal US market. A Connecticut-raised former hardcore punk who'd discovered DJ-ing in the mid '80s and become a major club hit with Britain's emerging rave culture, he had impeccable credentials in the dance world and two important qualities that most of his fellow technocrats lacked: personality and, well, personality.

Instead of hiding behind a veil of anonymity, lethargically mumbling his way through interviews like the Orb's Alex Paterson, Moby (a/k/a Richard Hall) spoke engagingly of his personal beliefs (Christian, vegan, anti-drug) and background (he's a distant relative of Herman Melville). And with 1995's Everything Is Wrong (Elektra) and the tour that followed, he proved willing to meet America's uninitiated alternative-rock masses halfway between the mosh pit and the dance floor, fusing anthemic guitars to house beats, putting his own confessional voice next to the wail of club divas, and even performing as a rock band. Moby, in short, became electronica's ambassador to the mainstream by acting nothing like a knob-twiddling DJ.

Apparently it was less an act than a prelude to Animal Rights (Elektra), which hits stores this Tuesday. Here Moby projects himself even further into the rockist camp, eschewing dance beats for thrash tempos, synth washes for buzzing guitars, and techno ambiance for organic guitar- and piano-based instrumental interludes. The disc's first single, and its best track, is a faithful, rousing rendition of the 1980 Mission of Burma post-punk anthem "That's When I Reach for My Revolver," replete with a driving beat, layered guitars, and angst-ridden vocals. Although only half of the disc's 16 tracks are full-on rock numbers -- ranging from the speed-punk fury of "Someone To Love" and the Ramonesy "You" to the bristling, heavy-metalized assault of "Say It's All Mine" and the Trent Reznor-ish "When you're fucking me it powers up my soul" admission in "Heavy Flow" -- the rockers set the tone. The soothing instrumentals are simply respites from the guitar storm.

Perhaps even more telling: Moby recorded two house-style remixes of the Mission of Burma cover that he's opted not to release in the US. And though Animal Rights was recorded at a home studio, where for convenience' sake Moby relied mostly on sampled drums rather than the real thing, he'll be touring behind the disc with a trad, four-piece rock outfit: two guitars, bass, drums -- and no sampler. If his explosive performance on the Lollapalooza second stage two summers ago, or the raw charge of the live versions of "Someone To Love" and "You" on the "That's When I Reach for My Revolver" B-side, is any indication, the tour should help establish him as a worthy commercial entity. But there's little doubt that, at least for the time being, Moby is no longer poised to further the cause of techno in America.

-- Matt Ashare