Orbital

by

Orbital

Edit

This is a response to the reviewer from Montreal; the reason that you have heard these sounds prior to hearing this album is likely because you've listened to the artists who ripped them off. Look at the date of the release and then judge again. This album was one of the first to break from the thumping of early techno, proving that dance music could indeed have depth and a soul to it. Along with Richard James (AFX), Orbital were among the first to experiment with a mix of up-tempo techno breaks with ambient soundscapes; given its release date, it's easy to understand why this album contains more the former and less the latter. Were this album released today, it would not be as impressive as it is, becuase many additional artists have directed their attempts at melding these seemingly incongruous musical styles; however, this would be impossible, given that the Hartnoll's have been responisble for a large part of ambient techno's direction (and electronica in general's direction)since this was first cut. True, the Hartnoll's have progressed a great distance from this early release, but that is the nature of great musicians. They have proven their merits by building upon their early successes. I still love this album, much as I do the brown album, for the originality it encapsulates; all those who've attempted since this release have not been able to produce as intriguing a mix of high-energy dance-hall techno with Phillip Glass-style introspection. Eons after its release (given the youth of this genre), this album is still brilliant and has, I would contend, not aged at all.

The eponymous "lime green" Orbital CD is, more or less, the first release by the brothers Hartnoll.

I'm a bit conflicted over whether to rate it 3 or 4 stars, but I'll go with 3. Not because it's a poor effort, or because I particularly disliked anything on it, but because it doesn't exhibit the hallmarks of "classic Orbital" that sprang abruptly into being with the release of Orbital 2.

This first album is a collection of disjoint dance tunes. All are competently written and executed. Some are exceedingly catchy and/or clever (I'm always a sucker for a "one cool sound" tune like Oolaa). But others weren't, apparently, fully formed at the time of this recording. The version of Satan on this album suffers tremendously when compared with their later recordings of it--for example, the tweeter-abusing "Industry Standard" mix on the In Sides bonus CD.

This album has a good many fans and I count myself among them. It doesn't have the continuous "flow" that characterizes other Orbital albums, nor the same quality of material. But we Orbital fanatics are compulsive completists, and the Time Will Come when you have nothing left to buy but the lime-green album. When that moment has arrived, find the best stereo you can, turn it way up, and play track #6.

One last note. Is it just me, or is there anyone else out there who thinks "Oolaa" might have been inspired by the chorus of "Ullah" in Jeff Wayne's War of the Worlds? Call me crazy ....