After three albums that seemed to find Moby in some sort of creative stasis, Last Night sees the once-restless DJ/producer changing the record and returning to one of his first loves: the heaving dancefloors of his native New York. Soulful, uplifting piano rave is the order of the day here, and while some hallmarks of Play remain-Moby still has a fascination for long, tearful synth lines and sampled vocals, which he drops in here and there, seemingly to yield the maximum emotional response-Last Night still feels like a clean slate. "I Like to Move in Here" shimmies along on a languid house beat that doffs a cap to early hip-hop in the shape of a cameo from MC Grandmaster Caz, one of the writers of "Rapper's Delight", while "Everyday It's 1989" is the sort of overdriven, ecstatic piano house that Moby perfected on his 1995 classic Everything Is Wrong. There's more guest spots in the shape of British MC Aynzli, the Nigerian 419 Squad and Sylvia from dark NYC disco band Kudu, but the most impressive thing about Last Night is the peaks that Moby can reach when he's working alone: see the grand, emotive swell of "Sweet Apocalypse", cold synths and driving beats that, were it released by James Murphy, would be hailed as genius-and rightfully, too. -Louis Pattison.

Alex Gopher's debut is full of late-night house music in the images of smoochy jazz, Prince-styled funk and the romantic airs of 1990s revisionist disco. The most immediate tracks are party pleasers with butt-oriented beats and strident vocals demanding that you get down and get with it. Elsewhere Gopher is more considered-even melancholy-sampling Billie Holliday on "The Child" or collaborating with AIR for the intimate alt. ballad "Ralph and Katy" (a swooning track with poetic vocoderisms and fragile airs). Much of the album shows Gopher's credentials as doyen of the French house movement-like Bob Sinclair or AIR (both of whom debuted on the Solid imprint co-founded by Gopher), he makes a version of house/electronica that is metropolitan and urbane. He also holds a warm nostalgia for the lost world of Studio 54 and remakes disco as a luxurious modern music-a winning approach. -Tony Marcus As a French DJ, Alex Gopher faces inevitable comparisons to Daft Punk, France's principal exporter of urbane electronic disco. While the comparison is not unjust, YouMyBaby&I inclines more towards organic, sweaty funk than the robotic metronome beats of France's other prodigal sons. Though he is too mannered to indulge in the raucous hip-hop inflections of American electronica icons such as Fatboy Slim, Gopher is nonetheless in hot pursuit of your booty and your libido. This is most obvious on "Party People," a full-on international funk rave-up that is already a dance-floor staple in European clubs. [+]