*********************************** AM/FM ***********************************  "Orbital" by Orbital Total Time: 65:42 Publisher: Internal CD Code: TRUCD2 / 828 386.2 Review by David Cassidy of Cynostic AM/FM Rating (0-10): 8½ Orbital have always been an "underground" band with little notable success in the singles or albums charts here in the home market of the UK. I'm not sure about abroad. Whatever, I recently discovered them in the "Bargain Bin" of my local Woolworth's shop. This bin usually contains naff CD and cassette singles being sold off at discounted prices. You know - the ones which everyone says "It's a really well made song" about but doesn't buy because they ain't catchy. Being the pauper I am I rummage through this Bin of occassion and you can find some bits and pieces of interest. The particular bit of interest which has relevance here is Orbital's remix EP, "Mutations". On this CD single are four mixes of previous Orbital tracks which appeared on their first LP, "Orbital" being their second long-player. Unfortunately I haven't yet acquired their first. Anyhow, the tracks on "Mutations" are fairly innovative, covering many different areas of sub-dance and also utilising the "dimensionally enhanced" features of the B.A.S.E. system, an audio technique which creates a "surround- sound" feel, with noises coming at you from behind, the sides and all over the room, as well as the normal directions... Remixers featured on the EP include such people as Joey Beltram and the infamous Moby - both fairly respected remixers. But I digress... My interest in Orbital is therefore one of curiosity more than anything and I am coming to like what they do more and more. Having heard "Mutations" and liked it a great deal I also went out and bought their newer EP, "Radiccio", resplendant with radishes on the cover. The three tracks featured here are really quite superb. "Halcyon" utilises a section taken from Opus III's "It's A Fine Day" and transforms it into something quite special. "The Naked And The Dead" is a throbbing dance floor thrash-about and "Sunday" is - as it's name suggests - nicely laid back. It's all "dimensionally enhanced" once again with B.A.S.E. So, when I heard about the new album I was quite eager to grab hold of a copy. There are a mere ten tracks on the CD but this doesn't do justice to the scope featured. The CD seems to be grouped into five sections, each of which is separated in some definitive way. It all starts with a man talking about the theory of the moebius, "where time becomes a loop / where time becomes a loop..." ad infinitum. This spoken line is phased between left and right with each channel becoming out-of-phase with the other, until they eventually meet once again. This creates some very neat sound effects, especially through headphones and sets the scene for a fairly experimental hour of music. This flows into "Planet Of The Shapes" which begins with another spoken line: "Even a stopped clock gives the right time twice a day...". This is faded into a series of phased sounds, together with a monotone bass. Other veering noises whirr through and over the main structure of the song but one air-like sound continues to play, then joined by an electronically enhanced scitar which springs from either speaker, mixing with itself and the tapping rhythm. "Lush 3-1" begins with a highly electronic noise being transferred from one speaker to the other, mixing and joining to produce an up-and-down lead. The bass comes straight in, then a flute scoping a simple accompaniment. A drum dabs out the obligatory rhythm. This deliberate strata of noise is then joined by hi-hat, claps and is then broken down to pure electronic noises until the flute begins the main hook of the track which bounds between and over the main structure. As the flute starts to echo, a Spanish guitar is introduced to add a little more depth. Then it all disintegrates again into electronic noises, but now with a fierce drum pattern playing incessantly. The bass is fantastic, being full of echo and reverb. The flute plays the hook once again over this, contrasting well. It finally concludes with the bassline taking over, becoming monotone, as it transfers into "Lush 3-2". The drum pattern becomes simpler, yet just as catchy - almost poppy - until that fierce pattern comes in once again with it's distanced snare. A popping noise plays over the top as a wailing, almost eery female lead starts driving all around the tune. Then it all stops. A guitar-like growl eminates from all around, until it itself is echoed and balanced against the driving beat. Once more the tune comes bounding in, featuring the female lead which is simply a wail up and above the whole. It's all broken down again, apart from the beat, which is set against a very electronic guitar-noise, as it transfers into "Impact (The earth is burning)". This is the longest track of the CD, being over ten minutes, and also the "raviest". It harks back to "Mutations" and that era of electronic playthings. Offset trumpets are over an ever-decreasing air-like sample, as well as the obvious beat. It may be ravey but it isn't in any way retrospect. The sounds are clean and the ideas are new, unlike many of the charting "techno" or "rave" records, such as those by 2 Unlimited (who are crap, incidentally. They actually use the same four samples in every song... Just listen!). A male vocal features on this track, taking over the role of the female on "Lush 3-2". It all breaks down to the monotone accompaniment and declining air sample. A lazer-like noise is around all this, rising and falling, as well as the male vocal. Then it becomes all techno-like, as electronic noises play around a male vocal sample of "It's like a cry... It's a cry for.. A cry for survival! For their survival and for OUR survival...". It becomes extremely messy in parts, but never to the extent where it's unlistenable. It's always compelling. Just what will they try next...? The techno noise gives way to release and a phasing, falling, spinning sample which ensues until the end of the track and into "Remind", the last track of this, the second, section. A bass kicks in, then the phasing lead stops, replaced by a harder sound doing much the same and achieving the same objective of creating space. A hi-hat is there, keeping regulated time, then another phased noise bounces in and out as a throbbing drumbeat forces entry. Rave takes over. I can just see people jumping to this... Crashing samples subdue the drums, then an organ-like noise rises and fall dramatically to replace these as the drums rise once again. It all ends with the organ rising and falling to a final echo. "Walk Now..." begins with a didgeridoo warbling away for some time. At first, it sounds like an electronic, synthesized noise, but it becomes obvious that it's "realer" than the beats which begin to surround it. Synthesis does take over as the whole shabang stops for refreshment. It all begins to make sense as the entire production comes together with an in-betweening beat which fills all gaps. Finally, the didgeridoo is gone, replaced by synthesis, but then pops back as the lead is turned on and off at rapid rates whilst it is phased and has it's volume altered. Then.. it stops. A simple piano attempts to simulate a techno lead to start "Monday". Drums filter around it, then the electronics are introduced, including the bass-line and the drums. The track continues in much the same way, with trumpets being added with heavy echo at a "reggae-like" point in the structure. Not my favourite track... ...Unlike "Halcyon + On + On" which IS my favourite. It begins with an ambient string and sample introduction which has piano notes filtered through it. Then comes the Opus III sample, altered from the "Radiccio" EP original. It's all extremely ambient and light. Until the bass starts rolling up, is joined by the Spanish guitar which adds its own echo and then.... BANG! It really starts. The original lead vocal kicks in and obliterates the light start, is stopped itself whilst a driving drumbeat with echo is introduced and then comes back to overlay the whole thing. The ambient intro' makes another appearance after the bridge, being littered with extra accompaniment. Some extra work is done on the lead to make it filter through the remixed lead, as used in the introduction. Once more it's broken down to the basics until the bass fades out and the lead vocal is left to carry the conclusion... The final track, "Input out", utilises the same effect as the introductory track. It phases two pieces of speech: "Input translation" and "Output rotation". These are placed against one another to create their own rhythms and effects. It's an effective way to conclude an experimental long-player. I think this is a superb CD for the basic reason that they haven't rested on their laurels and decided to simply make a remix CD. The new ideas are here, and they are rare in the fields of techno and rave nowadays, not that Orbital strictly confine themselves to this area. Certainly their material is strong in these genres but it also holds so much more. The rhythms, the conjunctions of sounds and ideas. It's all extremely well done, at least to these ears. If you want a nice taste of Orbital, get either "Radiccio" or this CD. They're full of innovation and ideas for a rave-up, a swimming-pool tape or just a sit- down and wonder experience. If you disagree with what I think for God's sake let me know!! Write to: David Cassidy, Cynostic, 85 Wyken Croft, Coventry, CV2 3AD Or telephone: +44 (0)203 613817 Or fax: +44 (0)203 613817 I'm always open for discussion...! *********************************** AM/FM ***********************************