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William Boyd on Kim Philby: how did a privileged young Englishman become a national traitor?

The story of how Philby and four other privileged young Englishmen became spies or double agents for the USSR borders on a perverse sense of national pride.

Comrade Kim: Philby in Moscow in 1968, five years after defecting to the USSR. Photo: Rex Features

Comrade Kim: Philby in Moscow in 1968,
five years after defecting to the USSR.
Photo: Rex Features

A Spy Among Friends: Kim Philby and the Great Betrayal 
Ben Macintyre
Bloomsbury, 352pp, £20
 

The English can justifiably point to real and lasting achievements in three particular areas of human endeavour: dictionaries, bespoke gentleman’s tailoring and betrayal. Treason is as old as history but the serial betrayals of the so-called Cambridge Five before, during and after the Second World War are unique and continue to exert a fascination that borders on a perverse form of national pride. Five young men, privileged and well-educated members of the British elite, decided for one reason or another to become spies or double agents for Soviet Russia: Guy Burgess, Donald Maclean, John Cairncross, Anthony Blunt and, of course, the greatest betrayer of them all, Kim Philby.

Blunt’s case is highly intriguing in its own right. Not only was he a Soviet double agent but he ascended to the pinnacle of the British establishment: he became head of the Courtauld Institute and Surveyor of the Queen’s Pictures, and he was knighted. In a way, Blunt is a perfect study in English hypocrisy – in that “one may smile, and smile, and be a villain”, as Hamlet put it – but in crude spying terms he was pretty small beer. On the other hand, Harold Adrian Russell Philby (Westminster School and Trinity College, Cambridge), always known by his nickname “Kim”, was the real deal, arguably one of the most successful double agents ever, one who was highly prized by his Russian handlers over his many years of diligent service to them.

The details of the damage he wreaked in his three decades of betrayal from the 1930s to the 1960s have been consigned to the annals of spying history but Philby the man – the individual, the myth – seems to grow ever larger in the folk memory of the British intelligentsia. There is something about his nature, and how he managed to hoodwink everybody, that is utterly compelling and goes beyond mere espionage. The case of Kim Philby appears to tell us something profound about ourselves and our country and we cannot, it seems, get enough of him. Ben Macintyre’s new investigation of the master spy’s case – although, as the author admits, adding to an already voluminous literature on the subject – is a hugely engrossing contribution to Philby lore.

Macintyre elects to see Philby and his activities through the lens of a friendship; a friendship with a fellow MI6 operative, Nicholas Elliott (1916-94). By coincidence another book about Philby has appeared simultaneously, Kim Philby: the Unknown Story of the KGB’s Master Spy (Biteback, £20), written by another former friend and MI6 operative, Tim Milne, who died in 2010. Milne knew most of the players in the Philby story and his is a valuable, judicious insider’s account. However, Elliott’s role in Philby’s life proved more significant.

Elliott and Philby started their spying lives together – one honourable, one highly dishonourable – and they remained close for decades, Elliott always innocent of his friend’s duplicity. But, by one of the juicier ironies of fate, Elliott was present at the moment of Philby’s defection to Moscow – and indeed may even have engineered it. There is an almost Jacobean dramatic arc to this story of simultaneous betrayal of both a dear friend and a country. Two types of loyalty are exploited and ruthlessly undermined.

Briefly, the narrative of Philby’s spying history follows this trajectory. He was officially recruited as a Russian agent by one Arnold Deutsch in 1934. Philby was 22 years old. The young Philby’s motive at the time was ostensibly ideological – he believed absolutely in the communist cause as the only way that fascism could be combated. As a journalist, he worked secretly for the Soviet NKVD security service during the Spanish civil war (bizarrely, he was decorated by Franco, an award that preceded his OBE in 1946). The trouble with this intellectual position was that, to any sentient being, it became morally unsustainable with the announcement of the Nazi-Soviet pact of 1939 which divided Poland. At once the scales had to fall from the eyes of British communist fellow-travellers: Stalin’s Russia was not the workers’ utopian dream state. Brutal realpolitik functioned there just as anywhere else.

What this means is that the ideological incentive for betraying your country no longer really holds. When we look at the activities of the Cambridge spies post-1939, there had to be other motives operating – and here, I believe, lies the key to the enduring interest in Philby. Why did he do it? How could he sustain the enormous, unimaganable pressures of living a double life from 1933 until 1963, when he finally defected to the Soviet Union? This is the mystery at the centre of the Kim Philby affair.

There was something of a lull in his clandestine activities after the Molotov-Ribbentrop Pact, but once he was recruited into the British Secret Intelligence Service (SIS) in 1940 he was contacted anew by the Soviet secret service’s London rezident and resumed his life as a double agent. Philby provided useful information during and immediately after the war, but his period of greatest value to the Russians began when he was posted to Washington, DC in 1949 to serve as first secretary at the British embassy. Here, he was able to supply the Soviets with prized material to do with US nuclear capability as well as CIA activities. And yet it was also his period of greatest jeopardy. Philby’s friendship with his fellow traitors Guy Burgess and Donald Maclean (whose recruitment he had initiated) placed him in a baleful spotlight when the two men defected to Russia in 1951.

However, even though suspicions were raised and Philby was repeatedly interrogated, the consensus in the SIS was that Kim couldn’t possibly be working for the other side – no, not old Kim, excellent fellow that he is. The pressure was such, though, that he was obliged to resign.

Perhaps his apotheosis as a double agent occurred when in October 1955 Harold Macmillan, the then foreign secretary, exonerated him, stating in the House of Commons: “I have no reason to believe that Mr Philby has at any time betrayed the interests of his country.” Philby gave a bravura press conference afterwards claiming that he had “never been a communist”. For a double agent, one supposes, such a public moment of state endorsement and credulity must be an inconceivable triumph. Philby went back to his old trade as a journalist, ending up based in Beirut and working as a correspondent for the Observer and the Economist. His experience and his cover as a journalist soon proved too enticing for the SIS and he was re-recruited; one of his oldest friends in the service, Nicholas Elliott, being of particular help.

Philby rejoined the club and went to work. But by then a series of Soviet defections was pointing the finger more and more at Philby being the “third man”, the crucial mole in the British Secret Service. The strain was finally getting to him and his developing alcoholism was attracting attention. Nicholas Elliott was sent to interrogate Philby and extract a confession. Elliott offered immunity in return for all the details of his spying activities for the Russians. Philby stalled, and while Elliot waited for him to make another appointment, he slipped away and was hidden on board a Russian freighter bound for Odessa. It was 1963. The double life was over.

Such a summary does no justice to Macintyre’s marvellously shrewd and detailed account of Philby’s nefarious career. It is both authoritative and enthralling, and the contrasting lives of the two “friends” works as a most effective way of exploring the social context and values of the SIS and the upper levels of British society. The book is all the more intriguing because it carries an afterword by John le Carré. In the late 1980s, le Carré had a series of confidential meetings with Elliott during which he took copious notes (which he made available to Macintyre for this book). He concluded that Elliott, who ever since had been overshadowed by the scandal of the Philby defection and his perceived blunders, wanted to transmit, covertly, his own version of events to someone who would understand – and who better than John le Carré, aka David Cornwell, a former spook, too.

Macintyre’s reading of Elliott’s own confession to le Carré, and his analysis of Philby’s movements just before he defected, as well as the actions (or non-actions) of the SIS, lead him to float the idea that Philby hadn’t outwitted the incompetent SIS in defecting – in fact the SIS wanted him to defect. It was better for all concerned for Philby to be in Moscow than on trial in London, where the concentrated unpicking in court of his wholesale treachery since 1941 would be a humiliation too far. From Moscow, his revelations could be dismissed as Russian propaganda.

Who can say? One of the pleasures of writing about espionage is that you are
almost licensed to concoct your own conspiracy theories; all that’s demanded is plausibility, and Elliott and Macintyre’s gloss on events is highly plausible. Was the SIS populated, in Hugh Trevor-Roper’s words, by people who were “by and large stupid, some of them very stupid”, or was there a sophisticated triple-bluff going on in Beirut in 1963, run by the very clever heads of Nicholas Elliott and Dick White, the then “C” (director) of MI6? Incidentally, Elliott’s judgement of Trevor-Roper was that he was “wet and useless. Something perverse inside him.” However, whatever the intricacies of Philby’s exfiltration from Beirut to Moscow, what is undeniable is that Philby and the Cambridge Five expose attitudes and complacencies among the British elite and ruling classes that show, if not arrogance, then astonishing sins of omission.

To put it simply, Philby got away with his betrayal for so many years because his colleagues, men of his own class and education, couldn’t believe that an Englishman of his type – stereotypically “charming” and popular – would ever dream of being a double agent for the ghastly Russians. The shock-waves detonated by his defection shook the British establishment and its espionage organisations to their foundations.

Intriguingly, le Carré gave some indication of the vehemence of this feeling in an introduction he wrote to a book on Philby published in 1968, five years after the defection, called Philby: the Spy Who Betrayed a Generation. “The avenger stole upon the citadel and destroyed it from within,” he wrote ominously, going on to describe Philby as “an aggressive upper-class enemy . . . one of our blood and [who] hunted with our pack”. The language is heightened, gravid with raw outrage. Trevor-Roper, another betrayed friend, went even further, speculating shrilly that Philby had become a traitor as a result of a kind of “death of the mind” through his espousal of communism, poisoned, having “drunk from the chalice of that secret church”. The tone is almost biblical, such is the fury and hurt at the scale of the violation of trust.

All of this is symptomatic of attempts to understand, to find – now that we know the “how” – a credible response to the anguished question: “Why?” Macintyre recounts various explanations offered by those who knew Philby: his enormous egotism, the addictive thrill involved in outwitting others, or the brutal fact that once you were sucked in to this dangerous game there was no escape.

My own supposition in the case of Philby – and it can’t be proved, of course – is that it was an example of the old adage that sometimes it can be as easy to hate your country as it is to love it. If you were a privileged left-wing idealist in the 1930s, Britain in her self-satisfied imperial pomp could seem a very rebarbative place. Philby hinted at this in a newspaper interview he gave after he defected in 1963.

He “loved England”, he averred, claiming that he felt himself “wholly and irreversibly English and England as having been perhaps the most fertile patch of earth in the whole history of human ideas”. Asked why he then had so systematically betrayed this paragon of a nation, he said he had felt a “humane contempt for certain contemporary phenomena that prevented England from being herself”. The unreflecting use of “English” and “England” –  not “Britain” – is very revealing and is the candid language of his class. Philby calls it “humane contempt” – but I think “contempt” on its own will explain almost everything. 

William Boyd’s latest novel is “Solo” (Jonathan Cape, £18.99)

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