ORBITAL

Orbital is best known for pioneering multimedia presentations within a dance environment, spontaneously restructuring music tracks preset into sequencers to the accompaniment of a state-of-the-art light show. Their recorded music-spatial electronic soundscapes tempered by an emotional warmth-likewise engaged the mind as well as the feet. The group has remained commercially viable despite a strong experimental orientation that has embraced innovative sampling and early forays into the drum ’n’ bass genre. Orbital was formed in 1989 by the London-based Hartnoll brothers, Phil and Paul, who shared a desire to incorporate electronic and postpunk elements into the British rave party scene. Following the release of several dance-oriented singles, the duo issued a fulllength album, Orbital I (Ffrr/London #350001; #71 U.K.), in September 1991. The follow-up LP, Orbital II (Ffrr/London #351026; 1993; #28 U.K.) further refined their techno-ambient wash, but Snivilisation (Ffrr/London #124027; 1994; #4 U.K.) possessed a strongly critical tone regarding a wide array of concerns, including governmental efforts to control Britain’s dance culture. Now possessing a substantial body of loyal fans who all but ensured the commercial success of their recordings, Orbital seemingly could do no wrong. Despite the group’s reputation for blazing new sonic trails, In Sides (Ffrr/London #124087; 1996; #5 U.K.) featured an even greater inclination to take risks in the studio. The CD-also packaged as three 12-inch LPs-refined Orbital’s early experiments with drum ‘n’ bass and laid the groundwork for the future electronica vogue. Its pivotal cut, the half-hour-long single “The Box” (Internal LIECD #30; 1996; #11 U.K.), blended club beats with an encyclopedic array of exotic samples and other sonic effects. They have somewhat moderated the impulse to experiment in subsequent releases, including the hit singles “Satan” (Ffrr/London #850990; 1997; #3 U.K.; recorded live in New York) and “The Saint” (FFRR/London #296; 1997; #3 U.K.; recorded live in Belfast) as well as the relatively upbeat album, The Middle of Nowhere (FFRR/London #31065; 1999; #4 U.K.). Although thus far unable to crease the charts in the U.S., the duo’s work has consistently sold well to dance and electronica audiences.