It’s not like American politics could get weirder (he wrote, praying that American politics doesn’t overhear and respond with an “Oh yeah? Hold my beer”), but that kind of baffling episode last week when noted musician Moby asserted definite insider knowledge of Russians having blackmail material on President Godfuckinghelpusall was, while far from a new and dizzying height of strangeness, certainly an amusing diversion. Here are his FB posts; I’d be loathe to accidentally misrepresent his words by paraphrasing:
 

 

 
It’s pretty hard to argue with much of that second post, and you can’t say he didn’t totally call it on Michael Flynn with a few hours to spare, though it may be a sign of encroaching Trump fatigue (if anything ever needed a long German portmanteau word, THAT’S IT) that my bigger takeaway from that was “How cool of a Dangerous Minds post would it be if Moby actually was into making balloon animals?” Moby, if that’s for real, please get in touch.

But still, this prompts, um, QUESTIONS. I don’t think it’s such a foregone conclusion that a pop musician couldn’t possibly know someone with such information and a willingness to gossip about it, but wouldn’t you think that someone possessing evidence of foreign blackmailers with a grip on the West Wing might find it more utile to share that with an investigative journalist or a prosecutor instead of, you know, MOBY?

But there’s news from the musician of a less cloak-and-dagger nature. That long-lived and celebrated unit Tunnelmental Experimental Assembly have done a new remix of Moby & The Void Pacific Choir’s “Don’t Leave Me,” that single from last fall’s These Systems are Failing with the incongruously animal-rightsy video to accompany the song’s plaintive breakup lyrics. Tunnelmental’s version is a good bit noisier and more aggressive than the already headstrong original, and the man himself seems to be pleased, telling DM “I love this Tunnelmental remix, and that I’m now in the Psychic TV, Killing Joke club of people who’ve received Tunnelmental remixes.” For Tunnelmental’s part, producer Nigel Mitchell’s comment was a good bit more verbose:

We all see things differently, so when Derek [Pippert, producer/beat doctor] and I work on a remix we use our experience as songwriters as well as our producer skills. We paint a “tunnelmental” picture from pieces of someone else’s painting, it’s like “collage” art where you get to add your own colours and shapes to form an alternative piece of art. We have the greatest respect for artists and it is an honour when they entrust us with their art. Remixing an artist like Moby’s music is a fun challenge, his work is already so good, you really have to channel that original and find an innovative way to make it your own without losing the original creative energy.

 
Listen after the jump…