Rolling Stone - "...In many ways, it serves as a fine primer to his work....beautiful and strange, on its own entirely alluring terms."
Entertainment Weekly - "...I LIKE TO SCORE combines soundtrack samples from such films as 'The Saint' and 'Scream' with music for movies yet to hit the theatres. Moby proves adequate at several styles--rocking beat barrages, tinkling minimalism, Joy Division remakes--but superior at few..." - Rating: B
Rolling Stone (10/30/97, p.68) - "...In many ways, it serves as a fine primer to his work....beautiful and strange, on its own entirely alluring terms."
Entertainment Weekly (11/07/97, p.86) - "...I LIKE TO SCORE combines soundtrack samples from such films as 'The Saint' and 'Scream' with music for movies yet to hit the theatres. Moby proves adequate at several styles--rocking beat barrages, tinkling minimalism, Joy Division remakes--but superior at few..." - Rating: B
Rovi
Being one of the most talented of the early batch of electronic composers, and not just a DJ and beatminer, it makes all the sense in the world that Moby would lend a hand creating incidental music for someone else's images. It makes for great practice and lets him collaborate with someone else without giving up any autonomy. I LIKE TO SCORE combines many of Moby's scoring efforts to date, and helps exemplify the diversity of ideas his work possesses. Aside from the three obvious crowd-pleasers--a souped-up "Moby Re-version" of the James Bond theme that throws down the block-rockin' beats like you'd expect it to, an edit of "Go," built on a sample of Angelo Badalamenti's score for Twin Peaks, and a metallic cover of Joy Division's "New Dawn Fades" -- the pieces veer toward the soundscape-ish.|
Rovi