Orbital
Biography
Orbital became one of the biggest names in techno during the mid-'90s by solving the irreconcilable differences previously inherent in the genre: to stay true to the dance underground and, at the same time, force entry into the rock arena, where an album functions as an artistic statement -- not a collection of singles -- and a band's prowess is demonstrated by the actual performance of live music. Though Phil and Paul Hartnoll first charted with a single, the 1990 British Top 20 hit "Chime," the duo later became known for critically praised albums. The LPs sold well with rock fans as well as electronic listeners, thanks to Orbital's busy tour schedule, which included headlining positions at such varied spots as the Glastonbury Festival, the Royal Albert Hall, and Tribal Gathering.
The brothers Hartnoll -- Phil (born January 9, 1964) and Paul (born May 19, 1968) -- grew up in Dartford, Kent, listening to early-'80s punk and electro. During the mid-'80s, Phil worked as a bricklayer while Paul played with a local band called Noddy & the Satellites. They began recording together in 1987 with a four-track, keyboards, and a drum machine, and sent their first composition, "Chime" (recorded and mastered onto a cassette tape for a total production cost of £2. 50), into Jazzy M's pioneering house mix show Jackin' Zone. By 1989, "Chime" was released as a single, the first on Jazzy M's label, Oh-Zone Records. The following year, ffrr Records re-released the single and signed a contract with the duo -- christened Orbital in honor of the M25, the circular London expressway which speeded thousands of club kids to the hinterlands for raves during the blissed-out Summer of Love. "Chime" hit number 17 on the British charts in March 1990 and led to an appearance on the TV chart show Top of the Pops, where the Hartnolls stared at the audience from behind their synth banks. "Omen" barely missed the Top 40 in September, but "Satan" made number 31 early in 1991, with a sample lifted from the Butthole Surfers.
Orbital's untitled first LP, released in September 1991, consisted of all-new material -- that is, if live versions of "Chime" and the fourth single "Midnight" are considered new works. Unlike the Hartnolls' later albums, though, the debut was more of a collection of songs than a true full-length work, its cut-and-paste attitude typical of many techno LPs of the time. During 1992, Orbital continued their chart success with two EPs. The Mutations remix work -- with contributions from Meat Beat Manifesto, Moby, and Joey Beltram -- hit number 24 in February. Orbital returned Meat Beat's favor later that year by remixing "Edge of No Control," and later reworked songs by Queen Latifah, the Shamen, and EMF as well. The second EP, Radiccio, reached the Top 40 in September. It marked the Hartnolls' debut for Internal Records in England, though ffrr retained control of the duo's American contract, beginning with a U.S. release of the debut album in 1992.
The duo entered 1993 ready to free techno from its club restraints, beginning in June with a second LP. Also untitled, but nicknamed the "brown" album as an alternative to the "green" debut, it unified the disjointed feel of its predecessor and hit number 28 on the British charts. The Hartnolls continued the electronic revolution that fall during their first American tour. Phil and Paul had first played live at a pub in Kent in 1989 -- before the release of "Chime" -- and had continued to make concert performance a cornerstone of their appeal during 1991-1993, though the U.S. had remained unaware of the fact. On a tour with Moby and Aphex Twin, Orbital proved to Americans that techno shows could actually be diverting for the undrugged multitudes. With no reliance on DATs (the savior of most live techno acts), Phil and Paul allowed an element of improvisation into the previously sterile field, making their live shows actually sound live. The concerts were just as entertaining to watch as well, with the Hartnolls' constant presence behind the banks -- a pair of flashlights attached to each head, bobbing in time to the music -- underscoring the impressive light shows and visuals. The early-1994 release of the Peel Sessions EP, recorded live at the BBC's Maida Vale Studios, cemented onto wax what concertgoers already knew. That summer proved to be the pinnacle of Orbital's performance ascent; an appearance at Woodstock 2 and a headlining spot at the Glastonbury Festival (both to rave reviews) confirmed the duo's status as one of the premier live acts in the field of popular music, period.
The U.S.-only Diversions EP -- released in March 1994 as a supplement to the second LP -- selected tracks from both the Peel Sessions and the album's single, "Lush." Following in August 1994, Snivilisation became Orbital's first named LP. The duo had not left political/social comment completely behind on the previous album -- "Halcyon + On + On" was in fact a response to the drug used for seven years by the Hartnolls' own mother -- but Snivilisation pushed Orbital into the much more active world of political protest. It focused on the Criminal Justice Bill of 1994, which gave police greater legal action both to break up raves and prosecute the promoters and participants. The wide variety of styles signalled that this was Orbital's most accomplished work. Snivilisation also became the duo's biggest hit, reaching number four in Great Britain's album charts.
During 1995, the brothers concerned themselves with touring, headlining the Glastonbury Festival in addition to the dance extravaganza Tribal Gathering. In May 1996, Orbital set out on quite a different tour altogether; the duo played untraditional, seated venues -- including the prestigious Royal Albert Hall -- and appeared on-stage earlier in the night, much like typical rock bands. Two months later, Phil and Paul released "The Box," a 28-minute single of orchestral proportions. It screamed of prog rock excess -- especially the inclusion of synth harpsichords -- and appeared to be the first misstep in a very studied career. The resulting In Sides, however, became their most acclaimed album, with many excellent reviews in publications that had never covered electronic music. It was over three years before the release of Orbital's next album, 1999's Middle of Nowhere. An aggressive, experimental album titled The Altogether emerged in 2001, and one year later Orbital celebrated over a decade together with the release of the retrospective Work 1989-2002. With the release of 2004's Blue Album, however, the Hartnolls announced that they were disbanding Orbital. After the split, Paul began recording music under his own name, including material for the Wipeout Pure PSP game and a solo album (The Ideal Condition), while Phil formed another duo, Long Range, with Nick Smith. ~ John Bush, All Music Guide
Selected Discography

Blue Album
2004

Work (1989-2002)
2002

The Altogether
2001

The Middle Of Nowhere
1999

In Sides (Reissue)
1996
http://www.y o u t u b e . c o m / w a t c h ? v = K X N 9 r 6 t P g H U
One of my fav songs ever!!! Thanks Orbital :D |
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What the hell are you talking about Kwisatz Haderach, like that has an ounce of bearing here about these artists above, maybe you should leave comments that make sense or sell your favorite artists somewhere else.
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hey yo mofo you can say what you want about the test of time. you all need more Sade in your vapid and empty lives... what,... is that insuing rage I hear above the billowing ambient backgroung music, what! I did not know fans of this genere were capable of an intense emotion, well you get a woman, a life and decent Sade collection you may just figure out hey i wouldn't be so into this bleak yet strangley addictive music that most serial killers use in there plotting phase. stop wasting lotion!
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they forgot to mention that in '97 orbital along with micheal kamen composed the soundtrack to event horizon. all 4 tracks are preformed by the london metropolitan orchestra and orbital. it's a great collaboratio n and makes for a very haunting soundtrack.
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@mrsmeckles, I agree completely. Midnight is one of the best tracks that they ever made.
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Pandora doesn't have "Midnight". Not only do they not have the 7 min. edit of "Midnight" from the "Midnight/Ch o i c e " single, they don't have "Midnight" period. I believe in certain circles this is referred to as an "Epic Fail." I wanted to create a station based around songs similar to the original edit of "Midnight", but looks like I'll have to wait until they expand their library.
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Pandora is missing three of their albums. If you liked even ONE of Orbital's songs, its a good idea for you to go back and listen to a bunch of their other stuff, because all of it sounds different. If you become a fan of Orbital, you should definitely look into buying their albums, and make sure not to forget the albums Pandora is missing: Diversions, Orbital (AKA green album), and Octane (I personally don't care much for Octane, but the rest are phenomenal!)
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I like the first couple of minutes of most Orbital tracks, then I lose interest ... Although, I can listen to most of "Pants" ...
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No part of In sides - including "The box" - was a misstep. I remember being so blown away when I bought that disc. Same for Orbital 2 for that matter.
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not bad for electronic music but while I love keyboards and I used to play this stuff before many of you were born, I still can't see where their music meets rock...the plastic sound of workstations can't, at least for now, substitute dynamics of sound that is produced by mechanical vibration (and then transformed into electric signal) of other instruments. I guess that's what sooner or later always got on my nerves when it comes to electronic music. It's just too smooth, too perfect, too unnatu
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Orbital's music has changed my life. I was first introduced to their work about 10 years ago, at which time I starting writing a producing my own Techno music and beats. Their albums have such a vibe to them that they can take you on a journey of audible pleasure which to this day is still unique. If you listen to their early works and compare to their later albums you will see that their sound progressed as the technology did but still maintained the signature sound that makes them stand out.
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They seem to have forgotten the album "Diversions" , thats my personal favorite.
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I would like to say, Orbital has become my favorite of all time. I have now bought 3 of their albums: Blue Album, The Altogether, and In Sides. They are phenomenal. I highly recommend to any electronic fan!
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I disagree...B a t h Time is not annoying. I have heard a couple annoying songs by Orbital, but not many. Acid Pants is a bit obnoxious, as is Fahrenheit 303.
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Orbital is one of the best groups I have ever heard. They can combine noises in a way that makes their songs very nice to listen to, they make you want to dance, and they also keep it under the annoying level. Many electronic artists tend to be overbearing on a repetitive structure, and it leads to obnoxious songs. Orbital keeps their repetition to a moderate level and does it in just a way that their songs are perfectly enjoyable.
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I agree with Xperimentyl. I fully believe that Techno will last years and years to come, and I don't think it has hit its most popular point. I think that techno will get much more popular in the upcoming years, as technology advances and technologica l music can become more and more complex. Also, you need to add Kraftwerk to that list...
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To "Peter Pumpernickel " : How can you say electronic music doesn't stand the test of time?!? More than any other genre, it truly does transcend time when one goes beyond dated dancefloor fodder. It's never been limited to styles, forms or sounds; it's most truly the expression of human imaginings not bound to genres or conventional instrumentat i o n . Orbital, Aphex Twin, Autechre, Plaid, The Orb, Future Sound of London and countless others have shown us this time and time again.
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I love this group, my absolute favorite. I think I've collected the entire discography and there is very little I do not care for (Bath Time is a bit annoying). Wish the brothers were still producing music together. I have mixed feelings on Long Range so far as I've only heard a couple tracks. I think that's all the Orbital we get...
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Either hit or miss with these guys. The trouble with electronic is that it doesn't withstand the test of time.
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Orbital..... you lot..... listen to it trippin! believe you me, we are becoming gods!!!! were sneaky bastards.... .
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Orbital is just... amazing. Every single person I've ever played In Sides for has liked it. This includes my one friend who thinks everything but Country sucks. Orbital transcends genres and boundaries, it really does.
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HANDS DOWN, THEEE BEST. ALL THE F**K A** HATERS ON PANDORA CANT DENY ORBITAL!
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orbital 2 is most essential - themes....it takes you into stellar enclaves - it is like auricular ecstacy
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The Middle of Nowhere is by far their best full length album! The rest are pretty amazing as well.
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