Innocents is the eleventh studio album by American electronica musician Moby, released in October 2013 by record labels Little Idiot and Mute.

[4] The album features several guest performers and vocalists, including Cold Specks's Al Spx (who appears on two tracks), Wayne Coyne (The Flaming Lips), Mark Lanegan (Screaming Trees, Queens of the Stone Age), Damien Jurado, Skylar Grey and Inyang Bassey.

On working with Coyne, Moby stated that "Wayne and I first met in 1995, when The Flaming Lips and I were both opening up for a Red Hot Chili Peppers’ European tour.

[14] Andy Kellman from AllMusic described the album as "another downcast, occasionally grand-sounding set suited for solitary home listening" while pointing out the substantial presence of Moby's synthetic strings within the record which makes it his "most powerful work in several years".

[25] Spin's Barry Walters recognised the "hypnotic purity" within Innocents, writing: "... as if [Moby] finally surrendered to the fact that these psalm-like prayers are where he excels — maybe they're only thing he’s truly great at", and labelled the instrumentation as the album's high point.

[22] Thomas H. Green from Mixmag wrote that Innocents "boasts plenty of [the] epic melancholia" found in tracks "Saints" and "Going Wrong", which "hits a grand, ethereal pitch few could match".

[17] Brendon Veevers from Renowned for Sound was confident for Innocents to be the "strong continuation" of Moby's successful 1999 album Play which could "place him back at the top of his game", with the track listing "balanced nicely between vocal fronted pennings with artists old and new and gorgeously arranged instrumentals".

She adknowledged that Innocents wasn't a "simple rinse and repeat" despite the return of Moby's "distinctive synths and chord progressions", and affirmed the "huge range of styles on display" which made the album a "remarkably cohesive and creative record".

"[21] Michael Roffman of Consequence of Sound described the album as "monastic", since it "ultimately proves that Moby’s happiest where he's been all along, which explains why tracks like "Everything That Rises", "Going Wrong", or "Saints" could slip into 18, Hotel, or Destroyed and nobody would bat an eye.

[29] Lucy Jones from NME said that despite the "wizened vocals" of Mark Lanegan on "The Lonely Night" and Skylar Grey on "The Last Day", Moby still managed to "bogglingly" create an album "full of saccharine strings, endless loops and narcoleptic synths".

[19] Jack Scourfield from Clash criticised the album for being "dull", stating that Moby's attempt to "paper over" the "demonstrable lack of songwriting inspiration with grand string arrangements and a sequence of guest collaborators" only manages to emphasise the tedium.