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Two sides of the Coin

As Barack Obama and Gordon Brown prepare to invest extra troops in the latest attempt to defeat the

"Strategy without tactics is the slow road to victory," wrote Sun Tzu in The Art of War, "but tactics without strategy is the noise before defeat." Stanley McChrystal, the top US military commander in Afghanistan, would do well to heed the words of the ancient Chinese general.

McChrystal is a lead member of the counter-insurgency (or "Coin") brigade that now dominates the US national security establishment. Coin theory emphasises a "population-centric" over an "enemy-centric" approach. It disinters the language of "clear, hold and build", resonant of the Vietnam era, and describes soldiers and marines as "nation-builders as well as warriors" (to borrow a phrase from the US army's much-lauded 2006 counter-insurgency field manual, co-authored by the celebrated General David Petraeus). Coin is predicated on the idea that it is possible to win supporters for an insurgency by providing security and basic services, and ensuring the presence of a strong, legitimate government.

Or, as McChrystal put it, in a memo to President Barack Obama leaked in September: "This new strategy must . . . be properly resourced and executed through an integrated civilian-military counter-insurgency campaign that earns the support of the Afghan people and provides them with a secure environment." Without extra troops, said McChrystal, the mission "will likely result in failure".

Critics of the new focus on counter-insurgency theory claim it is a tactical gimmick that enables policymakers to avoid thinking long and hard about what the endgame in Afghan­istan will actually look like. It is not a recipe for winning the war in the long run, they say; it is only for avoiding defeat in the short run.

“Coin doctrine is, at best, a collection of tactics that may or may not apply to a given situation," says Celeste Ward, a former deputy assistant secretary of defence under George W Bush. "But because of the absence of real discussion about US strategy and priorities, Coin has been elevated to the status of a strategy."

Coin's popularity, Ward told me, is that it "offers a framework that is palatable to people from very different political points of view: there is a unity of vision among both neocons and traditional Democrats". The former are excited by its emphasis on more troops, the latter by its focus on winning "hearts and minds" and "nation-building". It is for this reason, she says, that in Washington, DC today "counter-insurgency is king".

The proponents of Coin - or "Coinistas", as they have come to be known - point to the success of the 2007 US military "surge" in troop numbers in Iraq under the leadership of General David Petraeus, which they credit with reducing the levels of violence and insurgency across the country.

It is this "surge narrative" that has emboldened the Coinistas, but traditionalists, such as Colonel Gian Gentile, director of the military history programme at the US Military Academy at West Point, remain unconvinced.

The dramatic drop in violence in Iraq was the result of "a decision by senior American leaders in 2007 to pay large amounts of money to Sunni insurgents to stop attacking Americans and join the fight against al-Qaeda", says Gentile, who remains an outspoken critic of Coin despite being an active-duty officer. "Coupled with this was the decision by the Shia militia leader Moqtada al-Sadr to refrain from attacking coalition forces."

Gentile, who commanded a cavalry squad­ron in west Baghdad before the surge, says his "fundamental mission was to protect the people" and the "overall methods that the US army employed at the small-unit level where [he] operated were no different from the so-called new counter-insurgency methods used today".

Aside from the Iraq surge, Coinistas also point to earlier examples from history where counter-insurgency methods seem to have succeeded - in particular, the British colonial experience in Malaya (now Malaysia) between 1948 and 1960.

“Malaya is the 'gold standard' for Coin," says the historian Michael Vlahos, a member of the national security assessment team at Johns Hopkins University. But, he argues, this is a mistaken view: the Chinese Communist insurgents were a tiny and unpopular outside movement removed from the population, the British had a close and credible relationship with the ruling princes, and the local people were politically passive. And, it should be noted, it still took the British a dozen years to prevail.

None of those favourable conditions holds in Afghanistan, where the war has now entered its ninth year. The Taliban represent a huge section of the Pashtuns, the country's largest ethnic grouping, who are largely unrepresented in the political and military establishment of the "new" Afghanistan; and neither America nor Britain is considered a friendly nation.

The Pashtuns are among the most fiercely tribalised and nationalist peoples in the world, united only against a foreign invader. The thread running through almost all insurgencies is opposition to foreigners. Sending more and more troops increases the size of the foreign footprint in Afghanistan, undermining the legitimacy of the host government. As even the US defence secretary, Robert Gates, has worried in the not-so-distant past: "Too many forces could look a lot like an occupation."

A numbers game

The Coin theory of "clear, hold and build" is manpower-intensive, relying on an increased number of counter-insurgents to maintain widespread law and order. The field manual emphasises the importance of "troop density", or the ratio of security forces to inhabitants: "20 counter-insurgents per 1,000 residents [or 1:50] is often considered the minimum troop density required for effective Coin operations".

The CIA estimates Afghanistan's population, as of July 2009, to be roughly 28.4 million. Thus, going by the 1:50 ratio, the size of the US-led coalition force would need to be approximately 568,000 troops.

The US military commitment to Afghan­istan stands at 68,000 troops. There are about 38,000 non-US troops in Nato's International Security Assistance Force (Isaf) also deployed in the country, including 9,000 from the UK. The expected US troop surge of up to 40,000 - the number McChrystal is said to be demanding - would take the total to only 146,000, or just over 400,000 troops short of the number needed to satisfy Coin's own textbook definition of "minimum troop density".

The Coinistas, however, claim that their ratio allows for the host nation's military and police forces to be included in the total figure.Would this make a difference? Even adding in the 97,000 Afghan police officers and the 100,000-odd Afghan soldiers leaves the Nato-led force more than 200,000 counter-insurgents short of the "minimum".

Furthermore, the Afghan National Army is plagued by desertion: 10,000 recruits have disappeared in recent months. Soldiers are under-equipped and underpaid; some 15 per cent of them are thought to be drug addicts. Dominated by Tajik troops from the north of the country, the "national" army has little or no credibility in the southern, Pashtun areas of Afghanistan, where the Taliban mainly operate, and from where they draw ethnic support.

Meanwhile, the Afghan police, one member of whom shot dead five British soldiers on 3 November, are prone to infiltration and corruption and lack proper training. They have lost roughly 1,500 staff to insurgent violence this year and around 10,000 policemen are absent without leave.

“The Afghan army is useless and the police are corrupt," says Dan Plesch, director of the Centre for International Studies and Diplomacy at the School of Oriental and African Studies. "So what does McChrystal propose? More useless troops and corrupt police. It's a counter-intuitive solution."

According to Plesch, there is a yawning gap between Coin theory and practice. "It's all fine on paper, but that doesn't translate into success on the ground," he told me. "You're still the foreign infidel with big boots on. You are still bombing, shooting and occupying."

But Coinistas are nothing if not optimistic, or even triumphalist. "Coin theorists tend to imply a kind of determinism: if Coin precepts are followed, the campaign can be successful," says Ward. Or, in the words of Vlahos: "Do this and then this, and at the right moment add this ingredient and . . . you win."

“For all its claims to novelty and modernity, Coin is eerily reminiscent of [the Napoleonic military thinker] Jomini at his worst - a list of prescriptive doctrines that claim to be valid for all times and places," says Colonel Douglas Macgregor, the retired senior military officer who commanded US cavalry troops during the first Gulf war.Macgregor, like Gentile, is critical of this latest plea from hawks to deploy US military force for utopian political ends. "We cannot 'fix' Afghanistan with military power, nor can we shape the destiny of hundreds of millions of Muslims living in the region. Only the people who live there can do that, because nations are built from within, not from without."

Taliban red herring

As a young officer in the Gurkhas, John Mackinlay experienced a conventional Maoist-style insurgency at first hand in the rainforests of North Borneo during the 1960s. But, as he argues in his new book, The Insurgent Archipelago, such experiences are of no use to modern counter-insurgents confronted with the threat of post-Maoist, globalised attacks. "Malaya is so long ago that it is not relevant," he told me.

“The Americans think they can take their fire extinguisher and go abroad to squirt some water, put out the blaze and go home," says Mackinlay, who teaches in the war studies department at King's College, London. "That's bollocks." The Taliban insurgency, he argues, is a red herring and sending more troops is a distraction. What matters, he says, is the al-Qaeda insurgency across the globe. Mackinlay distinguishes between what he calls an "expeditionary campaign" against insurgents in Afghanistan and the "domestic campaign" against extremists in the UK. His criticism of the obsession with Coin is that the domestic campaign should have "primacy" and that "the expeditionary campaign is antithetical to the domestic campaign, because it pisses off your average Muslim punter in Bolton".

The Taliban have no known interest in attacking mainland Britain (or America). Of the 15 major terror plots that UK security agencies have successfully prevented since 11 September 2001, none has been linked to Afghanistan. Of the 90 or so Islamists imprisoned in Britain on terrorism offences, not a single one hails from Helmand. On the contrary, Mackinlay tells me, "Afghanistan is the recruiting sergeant for what is happening in the UK."

As centre-left governments in the US and UK prepare to commit additional troops to the Afghan war effort, his words seem to go unheard. The Ministry of Defence plans to deploy 500 further British troops to the killing fields
of Helmand and seems to have signed up fully to America's Coin approach, even publishing the first UK counter-insurgency manual in eight years.

One retired British colonel who served in Iraq and Afghanistan is aghast. "It doesn't matter whether you send 500 troops or 5,000 troops," he says. "What is the point when there is no endgame and no exit strategy?"

Coin has become an oversimplified and superficial doctrine for fighting foreign battles, one that makes war a more attractive, easy and likely option, but is also enormously burdensome in troops and money. Nonetheless, such doctrines are seductive: Bill Clinton had liberal interventionism in Kosovo, George Bush fell back on neoconservatism over Iraq, and Barack Obama is on the verge of opting for Coin in Afghanistan.

Coin will not provide a silver - or even a lead - bullet in Afghanistan. And, even if its critics such as Gentile, Ward and Plesch are wrong, the counter-insurgency tactics of Petraeus and McChrystal in Kabul and Kandahar will do little to win hearts and minds here at home, or in the disaffected and alienated Muslim communities across Europe. It is this strategic truth that the Coinistas avoid at their peril.

John Mackinlay's "The Insurgent Archipelago" is published by C Hurst & Co (£20)
Mehdi Hasan is senior editor (politics) at the New Statesman
. Read his blog Dissident Voice

Mehdi Hasan is a contributing writer for the New Statesman and the co-author of Ed: The Milibands and the Making of a Labour Leader. He was the New Statesman's senior editor (politics) from 2009-12.

This article first appeared in the 30 November 2009 issue of the New Statesman, Left Hanging

MATTHIAS SEIFARTH FOR NEW STATESMAN
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Moby: “The average American IQ is around 98”

Moby, the vegan king of chill-out pop, talks wealth, David Bowie’s hat and the average intelligence of his fellow Americans.

In January 2012, two women walking their nine dogs on the hill beneath the Hollywood sign found a man’s severed head wrapped in a plastic bag. His decomposing feet and hands were discovered nearby. First theories pointed to the work of a Mexican drug cartel, or the murderous Canadian porn actor Luka Magnotta. The story piqued the interest of the electronic dance music mogul Moby, who wrote about it in a New Statesman diary in May this year.

Today, the smell of cedar and pine hits you on the canyon path, which is hot, steep and sandy – an immediate wilderness in one of LA’s most exclusive areas. The Griffith Observatory shines like a strange white temple on the hill. Brad Pitt, a local resident, was doorstepped after the head was discovered: he lives near Moby on the streets of Los Feliz, near Griffith Park, where the only sounds are hedge strimmers and workmen’s radios. Moby’s 1920s mansion is all but obscured by Virginia creeper.

As we sit down at his kitchen table, Moby tells me that the body parts were found to belong to a 66-year-old Canadian flight attendant called Hervey Medellin. Shortly before Medellin’s disappearance, his boyfriend, Gabriel Campos-Martinez, had used a computer in the flat they shared to find an article titled, “Butchering of the human carcass for human consumption”. The head, feet and hands showed signs of having been frozen: the rest of the body was never found. He says it was one of those rare times in life where reality was more intriguing than the conspiracy theories.

Moby, of course, eats no meat. Fifteen minutes’ drive away in the hipster neighbourhood of Silver Lake, his vegan bistro, Little Pine, serves a variety of plant-based dishes, proceeds from which go to animal rights organisations including the Humane Society and Peta. His own music is never played there. We are meeting to talk about his new album – but, he says: “It’s 2016 and people neither buy nor listen to albums. And they certainly don’t listen to the 16th album made by a 51-year-old musician. I don’t care if anyone gives me money for this music or for live shows ever again. Once a record’s released, I couldn’t care less what happens with it. I liked making it, but I don’t care.”

He is currently working his way though the stages of grief outlined by the psychiatrist Elisabeth Kübler-Ross. To denial, anger, bargaining, depression and acceptance he has added a new phase: Schadenfreude. On the night of the US election, he left the house at 6pm west coast time to watch the coverage with some friends. He checked his usual round of sites on his phone: CNN, the New York Times, the Washington Post, Nate Silver’s FiveThirtyEight, the Guardian, the Huffington Post, the BBC, politico.com. He was concerned to see that no one was calling any of the early states; with Obama’s election, exit polls suggested the victory by noon. Days earlier, Moby had been predicting humanity’s “wake-up call” in the form of the destruction of Greenland or a zoonotic virus – but not this. He is softly spoken, with a quick laugh and the kind of intelligence that seems to warm him up from the inside when he talks, but today he is angry.

“It is disturbing on so many levels,” he says. “One, that we have elected an inept racist as president. Two, just seeing how dumb and delusional so many Americans are. Because really – in terms of the subsets of people who would vote for Trump – you have to be delusional, or racist, or stupid. I am so confused as to the fact that such a high percentage of Americans are either really stupid or incredibly bigoted.”

The stupidity of Americans is, he says, a matter of “anthropological curiosity” – or simply demographics. “The average American IQ is around 98,” he notes. “So that honestly means – in a vaguely non-pejorative way – that there are a lot of really, really dumb people. The nonsense that people were spouting before the election – that Trump was a good businessman, for example? This phenomenon has been particularly egregious of late: people have an almost adversarial relationship with evidence. Climate-change deniers are another example.”

As a self-described old-timey alcoholic, Richard Melville Hall (nicknamed Moby by his father in honour of his great-great-great-uncle Herman) has a pervasive interest in neurochemistry. He uses it to explain much of the past six months in Western politics. Our failing political systems – the subject, in fact, of the album he doesn’t want to talk about – are underpinned by “a kind of delusional motivation, which is basically to ignore the countless things that are actually going wrong in the world and focus all your attention on things that are arbitrary. In the United States, you have people who have perfectly good jobs in safe communities who are obsessed about Mexico, crime and unemployment. We have these quasi-Orwellian responses to stimuli, and they come from a place of fear and scarcity. Humans are still built to amass as much wealth as possible, and fight off the enemies as quickly as possible, but the only threats are the ones we generate ourselves.”

There’s a dishcloth on the table, a few magazines, a bit of a draught and Moby in a black hoodie pouring two glasses of water.

Fear and scarcity pervade American society, he says, because social policy is an extension of corporate process and “nothing is free from the cadres of professional lobbyists”. Meanwhile the ravenous news consumption that helped drive Trump reflects a human addiction to the “neurochemical jolt” of engaging with the media.

“People have a profound and almost feral attachment to that which makes them feel good in the moment,” he says. “Without thinking of long-term consequences, does their belief give them a shot of dopamine right at this second? If so, they hold on to it. Eating junk food, voting Brexit and voting for Trump.”

 

***

 

Moby is the model of an addictive personality well-practised at controlling itself. He was a fully fledged alcoholic by his early twenties: at ten, he’d been given champagne and made himself the promise, “I always want to feel this good.” Now, he cannot touch a drink, but his modern-day addiction, he says without a beat, is his phone. Every thought is pursued to extremes. He recently released an animated video for a new song, “Are You Lost In the World Like Me?”, showing a procession of grotesque, phone-addicted cartoon characters filming a girl as she throws herself off a skyscraper and hits the ground.

The house is vaguely baronial, airy and open-plan: all dark wood and furniture polish. An Annie Hall poster in the pool house; a coyote postcard on the kitchen wall.

This particular property is a result of serious downsizing: Moby has a habit of buying very big places, doing them up and then moving out. When he was still in New York, he bought a remote mountaintop retreat in Kent Cliffs, 50 miles north of Manhattan. He created a magnificent bedroom of 1,500 square feet with ten skylights – but quickly learned he could only get a decent night’s sleep when he pulled his mattress into the cupboard. He told the New York Times that, living all alone in the big house, he “felt like Orson Welles at the end of Citizen Kane”.

He moved to LA in 2010, swapped vodka for quinoa smoothies and took the keys for another large building – the Wolf’s Lair, the turreted, 1920s Gothic castle in Hollywood once inhabited by Marlon Brando, with the swimming pool historically used for porn movies and the hidden tiki bar. He bought it for $4m and sold it for $12.5m four years later – allegedly to Banksy. He rattled around in that house, too. Right on cue, he tells me: “I felt like Orson Welles at the end of Citizen Kane.”

On the one hand, these were sensible ­investments for the man who’s sold 20 million records; on the other, large impersonal spaces appealed to Moby long before he was in a position to buy them. Raised by his single mother on food stamps and welfare in Darien, Connecticut, he started his adult life squatting an abandoned lock factory, where he could ride his moped around his bedroom, piss into a bottle and read battered Star Trek paperbacks while working on early demo tapes, rather like a ragged, vegan version of the boy in the movie Big.

He was very happy in his penniless state, as he records in his memoir, Porcelain. He’d like to propose something he calls the End of Wealth – but we’ll come back to that.

In the past few years Moby has broken free from the “Beckettian purgatory of touring”. When his biggest-selling album, Play, was released in 1999, his music career was effectively “over”. Before Play, he had changed creative direction, going from progressive house to ambient to thrashy punk – to which he has just returned – and no one knew what to do with him. The only reason he hadn’t been dropped by his UK label, Mute Records, was that its owner, Daniel Miller, was “an old egalitarian socialist”.

Play sampled slave songs of the Deep South – recorded by the ethnomusicologist Alan Lomax in the 1940s – and wove them into a backdrop of cerebral chill-out. The songs of pain and emotion took on an eerie neutrality, and TV shows and ad companies came calling. He was approached by Will and Grace and Grey’s Anatomy. At that point, selling records and touring were still more lucrative than licensing a song to TV – and licensing a song to TV was still considered selling out. But Moby considers himself an ugly duckling: “If someone who was once unattractive suddenly gets asked out on loads of dates, of course they say yes a lot.” He licensed every song on Play and it became the soundtrack of the millennium.

His memoir was unusual because it concentrated on the ten-year period before he got famous. It captured his enthusiasm – and his strangeness – at its source and showed him to have a sense of humour that may have passed people by the first time round. “I’m in London! London!” he wrote. “Benny Hill, Joy Division, Peter O’Toole!” He visited the vegan café in Covent Garden.

The book is filled with money: or with the constant, practical concern of not having it. Navigating poverty is an everyday routine: he is an “alchemist” turning used beer bottles into nickels at the recycler, and thence into soya milk and oranges. In his early twenties he becomes a Christian, partly so that he can repeat the Sermon on the Mount at Bible classes in the households of Greenwich Village and “judge” the rich children.

Book two, which Faber & Faber is waiting for, is more difficult. The period of his fame and fortune in the 2000s is too much of a cliché. “Ten years ago I was entitled, narcissistic, bottoming out, alcoholic, selfish and feral. Robbie Williams has done that story, so has Ozzy and Mötley Crüe. Who wants to read that? It’s tautological.”

Instead, he has decided to write about the first ten years of his life. It will look into his relationship with his mother, who loved him but raised him in various drug dens. He was at her side when she died in 1997, but he missed her funeral, having woken late in the morning to discover that at some point in the night he must have got up and set his alarm clock three hours late. He took a taxi to the wake, worrying about the fare, and for reasons he can’t really explain, turned up cracking jokes.

He has a strange nostalgia for the kinds of friendships you have in early adulthood, when everyone is equal, “before that point when someone starts making money and they think they’ve won: they’re going to have access to a different kind of happiness”.

In 2003, when he turned 38, he was famous, wealthy and miserable. “I’ve been able to see and inhabit almost every stratum on the socioeconomic scale, from extreme poverty and obscurity to wealth and fame, and it gives me an insight into it,” he says. “Because a lot of people who experience wealth are born into it, and a lot of people who experience poverty never leave it. I can safely say that for me there has been no causal effect between increased fame and wealth and increased basic happiness and well-being.”

When Moby talks about himself, he applies many apologetic epithets: clichéd, meditating, yoga-loving, mealy-mouthed. In 2007 he developed mobygratis.com, a large online resource offering independent film-makers and film students a licence to use his music for free. If their films are commercially successful, the revenue from licence fees must go to the Humane Society. He says he wants to propose a more rational, evidence-based approach to wealth.

“We are still attached to the idea of the redistribution of wealth,” he says. “As progressive lefties, we’re all brought up to think that is a good idea. In the old days, it meant the difference between eating and not eating. Nowadays the person on $30,000 consumes twice the calories of the millionaire, and has a bigger TV and works fewer hours.

“There is an underlying assumption that if wealth were distributed more evenly then people would be happier, but there is unfortunately very little anthropological or sociological evidence to support that idea, unless there are institutions to support the basic needs of community, like food and shelter. Confusing materialism with happiness is the essence of our culture.”

While west LA is plastic surgery and gold-plated toilets, he says, his own neighbourhood is “David Lynch wearing an old T-shirt and mowing the lawn”. Among the millionaires of Los Feliz, conspicuous consumption is frowned upon. He knows several who live “incredibly austere lives. I was having tea with Jim Carrey the other day. He’s basically just giving everything away. He just realised that owning three planes was stressing him out . . .”

In his New Statesman diary, Moby said that life in LA offered him miles and miles of lavender-scented name-dropping.

“Coldplay played the Rose Bowl recent­ly,” he says. “And the Rose Bowl holds 75,000 people. It’s a struggle for me to sell 2,000. At first, I winced with a little jealousy. But then I thought, ‘If my career was at that Coldplay level, how would that actually affect my daily existence? Would it make my shoes fit better? Would it make the water pressure in my shower better?’ As long as you’ve satisfied the basic hierarchy of needs – enough to eat, clean air to breathe, bears not eating your legs – happiness is all where and how you put your attention.”

***

He goes to his kitchen cupboard and from among the colanders and measuring jugs he extracts a black velvet fedora – size seven, silk-lined, from a London company established in 1879. In green marker around the inside rim are the words “With love from David – Christmas 2005”. Bowie gave it to him over Christmas dinner that year. “It’s the hat that he wore in The Man Who Fell to Earth,” Moby says. “There’s this amazing picture of him wearing it with John Lennon and it’s clearly when he was doing a lot of cocaine.”

Moby lived on Mott Street in Little Italy and Bowie lived on Mulberry Street. “I had a little roof deck, and he had a beautiful roof terrace, and we could wave at each other.” They were neighbours and friends, worked on music together, went on tour together, had barbecues together. He says the title of Bowie’s last album, Black Star, is a reference to the 1960 Elvis Presley song of the same name “about the end of a life” (“And when a man sees his black star,/He knows his time, his time has come”).

“David had been sick for a long time,” he says. “Or ill, as you say in the UK. So, David had been ill for a long time. I was very pleased that . . . after he died, people were asking me, ‘How do you feel?’ and I’m like, ‘Actually, I’m just kind of happy that he lived as long as he did.’ Because I . . . had thought, yeah, I had thought that he was going to die a little before that. So.”

The Radiohead singer Thom Yorke lives just up the street from him in Los Angeles but Moby has never met him “as far as I know”. Apart from Bowie, he claims not to have musician friends.

“Musicians – and I’m sure you’ve encountered this many times – have a sense of self-importance that is off-putting,” he says. “It is very hard to be friends with someone who thinks that just by showing up, they’re doing something special. At the end of the day, you want to say to them, ‘You know what? You wrote a couple of good songs. Let’s put it in perspective.’”

He was born on 11 September 1965, and on his 36th birthday he watched the twin towers burning from his roof deck. He tells me that when the second plane hit and it became clear the first was no accident, he heard “the cumulative effect of ten thousand rooftops covered with people, and the weirdest scream. A scream of horror but also a scream of understanding.”

Fifteen years on, he talks about this year’s politics as a Manichaean thing. “Half the world are motivated by fear and desire to move backwards, and the other half are motivated by optimism and a desire to move forward rationally. It’s religious tolerance versus fundamentalism; it’s racism versus inclusion. I wonder if there’s a way we can make peace with that whole other half of humanity who are holding on to a non-evidence-based approach to the future. But I don’t know what it is.” He has known Hillary Clinton for two decades, was a vocal supporter of hers during the election run and released a pair of anti-Trump tracks for Dave Eggers’s music project 30 Days, 50 Songs.

He says that many celebrity Clinton backers were cautious to come out for her during the primaries “because Bernie supporters wanted to crucify you. Now Trump has united and inspired Democrats more than anything since the Vietnam War.”

The election result, he says, might just be “the equivalent of a crystal meth addict going on one last bender. Maybe this bender will finally convince Americans to stop voting for Republicans. Because they are terrible. There has always been an understanding that if everyone in America voted, there would be no Republican politicians. The reason Republicans win is that most Americans don’t vote.

“Those of us on the left who were brought up to be tolerant of people who had different opinions from us – well that’s great, ­unless the opinions are bigoted and wrong. If someone is a climate-change denier, they are wrong. If someone voted for Brexit, they are wrong. If someone voted for Trump, they are wrong. There is a lot of ambiguity in the world, but not about these things.”

The clock ticks towards 11.15am and Moby, ever punctual, is done.

“These Systems Are Failing” is out now on Little Idiot/Mute

Kate Mossman is the New Statesman's arts editor and pop critic.

This article first appeared in the 08 December 2016 issue of the New Statesman, Brexit to Trump