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Carpathian wrote:
Alternatively it may have nothing at all to do with impact (pun intended ) but everything to do with where the brothers are at. If longer tracks aren't on their radar at the moment then I'd rather they didn't force things just because they used to do things like that before. They stopped because it wasn't fun so you really don't come back for any reason other than what you really want to do at the time.
Either way I'm more than happy with the results so it's more curiosity than complaint!
The Gun is Good clocks in at just under 8 minutes, but maybe the album approach was to shorten things a bit, it was pre The Altogether when P&P indicated that they wanted to tighten their tunes up (to questionable results ).
I agree that Orbital are at their best when they open up their tracks and let the music breathe a bit more...
Overall I dont think the tracks are too short with Wonky, but it is blatant with Where are we going?...far too short, and maybe too compact for its multi-layered lushness... still 1 or 2 more tracks wouldnt have gone a miss!
I don't know you people...why are you here? MEMS MUZAK
After a few listens, I'd say this is a glorious piece of work from P&P, perhaps one of the most consistent and well-crafted albums they've ever made. Is it possible we will be treated to all the new album tracks in the live set? I'm hoping so - all are worthy.
As for Paul getting most of the writing credits, it does seem that recently he has been the voice of the band more than ever. It always used to seem to me that Phil was the one who had the most the say but that has flipped now. Anyway, the results are fantastic so, Bravo P&P!
I am probably going to edit this a dozen times as ideas take shape over the next few days but to start...
Pure serendipity
Post 1000!
Eight years. It seems hard to imagine that we have been waiting for that long now. One day into the official launch and all the anticipation has been well worth it.
One Big Moment.
The comparisons with all the other albums of course will be iterated and re-hashed and analysied into submission throughout but first thoughts are this is the antithesis of Forever. The name alone points to this but the clincher is the Bertrand Russel sample with it's inherent optimism rather that the apocalyptic bombast of Graham Crowden's modern Frankenstein. The vibe continues with the gentleness of the rest of the track even when the beat kicks in and the springiness takes over. The perfect 'Hi we're back and pleased to be re-aquainted with you' vibe.
Apart from the Altogether every opener they have produced almost defines the rest of the album. The tradition is continued here in spades. Great start.
Straight Sun.
After then playful good-cheer of the opener an influx of considered irascability. 'All is not as good as it should be', the track seems to say, 'there's just not enough bloody dancing going on here'. The first motif a warning beacon into the building of head of steam that will get it banned from the car for inducing heavy foot syndrome. Pressure is build from a slow throb to a grimy roar and beyond and then...
The Drop.
The re-iteration to the climax lays texture upon sensation upon raw nerve-end tingle, smacking you to go with it until it decides right that's enough, be off with you.
One of the things I have always enjoyed about the Lads is the master-angler's method they have with hooks. Know Where to Run is the most potent previous example I can think of. Tease the victim until they take a good hard bite of the bait and set the hook so hard it almost pulls their head off. Every time I hear it, the fly-valve in my head spins and I can not wait to hear it live. I was ever so slight aggreived that the Maida Vale version didn't nail this. You could see Phil running to catch up with the crib-sheet but they missed it. If they get this right live it will kill. I know it is a bit of a stretch to link 45 second of music to whether an album is worth it or not but 2.42 to 3.29 comes damn close.
Never
The tune with the most wistful quality on the album imo. This has really grown on me. I did like it but when Straight Sun apppeared I lost it for a while. It took the video for it to make sense to me and really drive home the point. I won't even attempt to explain why here. Lets just say a nostalgia for the way we were and understanding of the way we are seems to shine though everything else. Simple and thoughful, it is a tune of life.
New France.
As pointed out by others, this is where the controversies start.
I wasn't completely sold on this at the start. As the more observant of the long time members here would have deduced by now, the human voice is an instrument I can take or leave in any situation. It needs to be absolutly perfect for the moment to catch me instantly. Miss Danilova just didn't do it. It struck me as an exceptionally brave experiment but lacking subtlety, it's brashness striking a slightly discordant note. Now, I find that discordance is the point and the track has grown considerably. It may always be the track that I like least on the album but one of them has to and I definitely do like it. I particularly like the middle section between choruses where the plaintive nature of the track shines best.
The L-Vis 1990 mix though is still absolute shite.
Distractions.
The first of the tunes I hadn't heard before the album release. I had wanted to keep my powder dry on this until release, primarily by what had been said about it before now. I wanted completly clean ears (so to speak) before I heard this. However, Carpathian summed ut up best with 'Raging Melancholia'. A dark, alternately ethereal and suffocating descent into a whirlwind of grief and despair, driven all the while by a snare beat that has me reaching for by the end, of all things, Love is a Battlefield by Pat Benetar. Miss Portman's contribution is the vocals we have come to demand from the Lads and is up there with the best examples of perfect placement they have produced.
I am reminded of two tracks that are particular favourites of mine, T.G.W.T.S.I.H.H. and Transient. Both, to me anyway, are peaens to grief, the former a joyous, uplifting but sorrowful celebration of a life, Transient, the never ending feeling of emptiness at that loss. Distractions is the inchoate rage and confusion at the unfairness of it all.
Anyone who says that electronica can't do emotion is a knave and a fool if they hear this and not feel the sadness.
The track of the Album for me.
Funnily enough, I can't see this being played live as I don't think that's the arena for it.
Now, there has been alot of talk about the sudden exits and shortness from alot of the tracks on the album but - for me this track doesn't end suddenly enough. The last twenty five seconds or so with the segue into Stringy Acid is just not right. Picky, picky, picky, I hear you say but I think a much more effective end would have been a complete break. Leave it hanging there cut by obsidian - cold, uncompromising and shocking.
It is too short though, but what it needs is just a much longer build from the beginning. It has been said that it is almost as if the Lads lost interest or patience on the tracks and said that'll do. i am more inclined that They wanted to get to the good bits without really thinking there was a journey to be had in the getting there.
Stringy Acid
I don't have alot to say about this but just pure fun.The ideal antidote to what had gone before, old-school and proud of it, bouncy, colourful and full of exuberance. I like it greatly.
Beezledub
Now we head back to potentially more controversial territory. I'll be honest, I haven't heard much dubstep so my pre-conceptions as to what it is may not be the most accurate. What has been pointed out to me as the aforementioned genre consists of Burial (meh, not bad), Moderat ( loved the album) and that's about it. Even I recognise that two acts is not something to base an entire niche on so I didn't really know what to expect with this.
I fucking love it. After the initial wtf is going on listen it quickly settled down and now I find myself anticipating the various changes and grinds like an old friend. If this is dubstep, bring it on.
Wonky.
I'm convinced I first heard this last summer in Galway. I was in no fit state to really take it in but hazy recollections have me laughing at the madness of it all. I next heard it on Christmas day on the show the Lads did for Radio 6. On that occasion I was stiil distracted by Straight Sun, which was on as the track directly proceeding it. On the re-listen I got a better feel for what was going on and yeah, I could see what the fuss was about. So far so good. The name was also very apposite I felt.
Scroll forward a bit and the next I hear there is going to be a rapper on the track and my horrible knee-jerk reactionary side immediately said 'No, fuck off, I don't want this'. As stated above, the voice (meh), but I absolutely detest rap (most notable exception, Buck 65 but he's an even bigger redneck that I am so that's ok). This was an experiment that was going to blow up in the Lads' faces I thought.
Why was I worried? It's not better or worse than the instrumental but the adding of Miss O'Garro* (of the Termonfeckin O'Garro's no doubt) is just wonderfully different. Both following and driving the beat is a rare feat. She pulls it off with aplomb though and fair play to her for it . Sorry for the doubt but it really does work. I will agree that the DJ version needs to be heard but not instead of, as well as. I also don''t know why it was chosen as the name of the album but there you go.
Where is it going?
Obital meets Flat Eric and pumps him up again. From the off you could tell this was an Orbital closer. Big, resonant, confident and hopeful, Classic Orbital Fare. I do like that about the Lads, they know how to sign off. Yes' of course it is too short but this has to be deliberate. We have to stay and find out where is it going. what else did you expect?
Synopsis
Pros
I can not really adequately describe the happiness and pleasure I have got from the album. Behind it all though is a profound sense of relief that it was worth the wait and hype. Straight Sun, Distractions and Beezledub take home the rosettes for Best-in-Show with Honourable Mentions for One Big Moment, Never, Wonky, and Where is it Going? Pearls amongst Diamonds awards for New France and Stringy Acid. Overall winner has to be Distractions. Ticks nearly all the right boxes and only one of the wrong ones.
Cons
All the trademarks are there barring one thing, the Epic, Where is the plus 10 minute mega-tune? It would be slightly easier to understand if you hadn't got so close. Take Distractions and splice large lumps into the beginning and middle and there it is.
Minor gripes
I want more right here and right now.
So there you have it. The inane witterings of a slightly misty-eyed fan. trying to express his feelings about a longed for return.
Coda.
I have my suspicions (wild speculations would probably be more accurate) as to why the album is the way it is but I think this thread is not the place for that particular debate.
* Hey, we claimed Barack O'bama don't think we won't claim her too
!st edit.
Thanks Badger for the much needed safety-valve on Saturday.
legspin wrote:
Beezledub
Now we head back to potentially more controversial territory. I'll be honest, I haven't heard much dubstep so my pre-conceptions as to what it is may not be the most accurate. What has been pointed out to me as the aforementioned genre consists of Burial (meh, not bad), Moderat ( loved the album) and that's about it. Even I recognise that two acts is not something to base an entire niche on so I didn't really know what to expect with this.
I fucking love it. After the initial wtf is going on listen it quickly settled down and now I find myself anticipating the various changes and grinds like an old friend. If this is dubstep, bring it on.
I wouldnt necessarily say its "pure" dubstep... the bpm and halftime drum pattern is definately dubstep. There is definatley a bit of "wobble" and lfo'd synth noises going on, but dubstep can be a very broad genre... almost like dnb where the only prerequisite is a fast drum loop.
I like people like Moderat/Scuba/Skream/Boxcutter etc, however all these artists experiment with all types of genres but may be better known for their dubstep output.
Beelzedub is more Orbital than dubstep imo...."Dubsteppy" more like.
I really like Beelzedub, I think it has that rawness that "Meltdown" has.
Its frenetic and evil.
I don't know you people...why are you here? MEMS MUZAK
In a bizarre, and frankly spooky, coincidence there was the third and final episode of the "Talk At The BBC" documentaries on BBC4 last night.
What has that got to do with this place, I hear you thinking?
The final clip was from Bertrand Russell in 1959 (starting at 54:04 if anybody wants to iPlayer it) including the full and quite marvellous "Love is wise, hatred is foolish. In this world......" quote from the start of One Big Moment
Wonky is number 11 in the midweek album charts...well done guys that's a top result after 8 years out of the game, and fingers crossed they get the desire to do more cracking albums!!!
I've given Wonky several listens now. Love it. For me right now, the order goes:
In Sides > Orbital 2 > Snivilisation > Wonky > The Middle of Nowhere > Blue > Orbital 1 >>>>>> The Altogether (I know my placement of Orbial 1 might appear to be blasphemous, but I joined Orbital during the In Sides era, and I honestly just haven't listened to it that much, Belfast aside)
I won't give a track by track rundown, but I have one minor issue and one major issue with this album. Minor issue: One Big Moment is just a tad too long. It stands out amongst the rest of the tracks, which are comparatively much tighter and less repetitive. It's still a lovely track, though. Major issue: every time I listen to this album from start to finish, it feels like something is missing between Wonky and Where Is It Going. On my second listen, I thought that maybe a slow, beat-less piece might have fit well, as sort of a buildup to WIIG. Listening to it this morning though, I realized what was wrong: WIIG needs to be in two parts! It feels like we have part 2 already - the lighter, uplifting part of the song. Where's the dark part? I feel WIIG could have easily joined the ranks of songs like Out There Somewhere?, Nothing Left, Beelzebeat, Are We Here?...songs that start out all dark and brooding, and then give way to blue, sunny skies. I'm just imagining how that crash of joy about 30 seconds into the song would sound just after hearing it's evil brother play out. Wishful thinking on my part, yes, but I miss the days of Orbital 2-parters so much!
Aside from those two beefs, Wonky is fantastic. Solid return from the brothers, and I hope we have many years to come for Orbital MK2!
Well now, what a superb return to form, exceeds any expectations I had big time!
Great mix of trademark Orbital and new sounds. Some tracks hit you immediately, others are growers (looking at you, Distractions & Beelzedub).
The tracks which blew me away on first listen were Stringy Acid (wow...) and Where is it Going?
I think this will rank amongst their best albums, it's that good. At the moment I Iove EVERY track!
I see some of you have put a lot of effort into a track-by-track review (some great work there), so here's mine:
One Big Moment - wonderful
Straight Sun - amazing
Never - marvellous
New France - stunning
Distractions - spectacular
Stringy Acid - fantastic
Beelzedub - fabulous
Wonky - excellent
Where Is It Going? - superb
Inspiration - thesaurus
Nice to see it busy around here, hope to bump into some of ya at RAH! RAH! RAH! ORBITAL! RAH! and/or Melkweg… looks like they've added an hour to the live set!
Ive had the album on repeat and just love it all to bits...
Same here. My wife is getting a little sick of it at this point and we are only 4 days in.
I always find it healthy to step off the train for a day or two when I have a new album and find myself hammering it on repeat for days on end. Just saves it getting too familiar too quickly and somehow helps me keep finding new things on listens in the future.
That Dots & Dashes review belongs in Private Eye's "Pseud's Corner" I think. It sounds like someone's trying to make some good points in there but it's entirely obscured by all the words they're using.
) but everything to do with where the brothers are at. If longer tracks aren't on their radar at the moment then I'd rather they didn't force things just because they used to do things like that before. They stopped because it wasn't fun so you really don't come back for any reason other than what you really want to do at the time.
).
