Water From A Vine Leaf

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In 2015, his composition "The Name of the Wave" was used in the Oscar winning documentary Amy directed by Asif Kapadia. [21] One moment he could be performing an intimate show in the Roxy with just Madonna and his trusty guitar, the next he could be DJing in an underground club or participating as a lecturer in any high level international arts and culture festival. He could be creating or hosting arts programs for the BBC World Service, developing steampunk drum robots such as his and Rico Conning’s Gogobot or simply painting. A new discipline he’s explored in recent years, Orbit’s creations often articulate a similar methodology he’s approached his music with; a vivid fusion of analogue and digital, ideas both old and new, and a sharp eye for the ergonomic and mechanical. Once again, they reflect that sense of adventure that’s characterised William’s career, galvanised his artistry in all its capacities and created a unique vantage point in electronic music that’s rooted in the flux of multiple musical traditions and artforms. It’s a flux that he continues to create his own universes in with his latest endeavour ‘WFO’. They were discovered by The Police’s manager Miles Copeland and released two albums, but it wasn’t until rave that Orbit began having mainstream success. I thought, ‘I can do this, too!’ I was clued into the clubs, pirate stations and DJ-ing. But Rhythm King boss Martin Heath dangled the carrot of a record deal for too long, so I signed to Virgin instead. Tingen, Paul (October 1991). "William Orbit: Urban Guerilla". Sound On Sound. United Kingdom. pp.58–64 . Retrieved 29 November 2020.

I’d see producers like Nellee Hooper and think: ‘Look at that dude!’ Nellee seemed to party every night in the south of France with a model on each arm. I’d wonder how he found the time to make the actual records. But the simple answer is, none of that matters a jot so long as the records sound good. With Orbit having remixed ‘Erotica’ in 1992, Ms Ciccone was keen to work with the Englishmen, spending four and a half months at Larrabee Studios in Hollywood. ‘Ray Of Light’ was an interpolation of a little known 1971 song ‘Sepheryn’ by the British folk duo of Dave Curtiss and Clive Maldoon. Despite its frantic pace, Orbit ensured that the rhythmic elements were subtle in their make up to procure an earthy rave quality that was the antithesis of most dance music of the era. Bassomatic's biggest hit single was "Fascinating Rhythm" in 1990, which reached No. 9 on the UK Singles Chart, and performed well on the UK Dance Chart. [ citation needed] Previously a scrupulous workaholic in the studio, Orbit decided to try cocaine for the first time at a party and found he had a horrifically addictive appetite for drugs. He was eventually sectioned. I ’ m coming in from the cold,” announces William Orbit, as he prepares to release his first album for eight years.

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In 2000, Orbit continued working for Madonna on her album Music, recorded at The Hit Factory in New York. In 2018, he worked on "After All", a song by English-Canadian girl group All Saints from their fifth studio album, Testament (2018). Written by group member Shaznay Lewis along with Peter Hutchings and Orbit, whilst produced by the latter, it was released as the album's second single on 26 July 2018. Having made so many great albums, William’s advice to budding producers is simple and practical. “Working with someone as super-famous as Britney Spears is exactly the same in the studio as an unknown,” he notes. William Orbit confirmed for first London Electronic Arts Festival. "Georgio Moroder and William Orbit confirmed for first London Electronic Arts Festival", 'Indie London', Nov 2013. That’s an incredible honour, but I don’t ask for details! I also get told – especially for Pieces In A Modern Style – that parents play my music to calm fractious children.

Aspden, Peter (June 22June 2007). " Alluring echoes of Hoxton". Financial Times: FT Weekend, Life& Arts. www.ft.com. Retrieved 7 May 2017. I’ve put myself in a slightly crass position with my new record, though, of thinking I’d like to get people to hear my stuff beyond the niche.”

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Madonna’s previous album Bedtime Stories was co-produced with Nellee Hooper, whose career Orbit had looked at in envy at the time. “I’ve never had an abundance of confidence in my artistry,” William admits. Orbit made four albums in the Strange Cargo series of aural travelogues, critically acclaimed but failing to match the success of fellow ambient travellers The Orb or The KLF. Orbit had created remixes for Madonna previously such as those of " Justify My Love" and " Erotica" but did not meet her personally until 1997. That summer and autumn, they worked together and produced her multi-Grammy/award-winning seventh album Ray of Light. The album took four months to record and it was the longest she ever spent recording an album. It was released on 22 February 1998. The Mix’ was actually supervised by KRAFTWERK themselves, with the most significant makeover being ‘Radioactivity’ and its additional unsettling machine chant of “TSCHERNOBYL – HARRISBURGH – SELLAFIELD – HIROSHIMA” for an anti-nuclear message highlighting recent atomic catastrophes. For the single release, remixes were farmed out externally and Orbit’s version offered a more preferable electro enhancement than François Kevorkian’s house laden rework. Madonna is really overlooked as a producer,” Orbit emphasises, pointing out her own vital role in Ray Of Light’s sound has been neglected. “Madonna has never had the time to produce other people, but I learned so much as a producer from her.