Orbital - Monsters Exist

  On 9/21/2018 at 11:23 PM, Extralife said:

 

  On 9/21/2018 at 11:02 PM, purlieu said:

“We are all going to die. Cheerio!”

  On 9/21/2018 at 11:28 PM, Rotwang said:

lol

He's been really bloody annoying on every panel show he's been on

Clever lad though I'm sure

I have finally heard the Reoccurring Mix of "To Dream Again" from the HMV bonus disc and am pleasantly surprised that I find it's not pointless. Granted, it's even slightly shorter than the other mix, but while the basic structure is very similar, the production is quite different. The oscillating main part of the mix on CD 2 actually really grates on the ears (especially on headphones) from 1:15 onwards because it is very repetitive and too loud in the mix. The Reoccurring Mix remedies that by having it continue in the background and instead focusing on the other part (that's lower in the other mix), which I find much more appealing anyway. There are also several other differences: for example, I think that the shift to the end section isn't as jarring soundwise as in the other mix. Overall, the Reoccurring Mix sounds more like Orbital and now replaces the other one in my playlist.

Looking at the credits of the deluxe 2 CD version, I was also surprised that Phil is not even credited as producer on several tracks: actually more than half of the tracks are solely produced by Paul. I guess most of those tracks on CD 2 were already finished in 2016 before the official 2nd Orbital reunion. What with several comments in recent interviews and irritated looks or comments on Phil's behaviour, it's fairly obvious that (besides personal reasons) the main business reason for Paul to reform Orbital is that he couldn't draw big enough audiences going solo without the Orbital brand name. I still remember being quite shocked to find out that Phil only has one writing credit on Wonky. In hindsight, several of Paul's solo work around the time of The Ideal Condition made it clear that he must have been the main songwriter in Orbital, especially "Patchwork Guilt", "Please (Remember 1992?)" and his brilliant remix of Culprit 1's "Tricks". It was cleverly hidden in the ambiguous credits on older albums ("Written and produced by P+P Hartnoll") because it could have meant that one P was primarily responsible for producing instead of writing.

I agree about Paul wanting to get back as Orbital because he knew he could get more attention than when he was 8:58 (loved that album BTW).

As for the credits, it's always been that Paul was the main one, it just wasn't shown in the credits until Wonky.

  On 9/23/2018 at 9:42 AM, Aural Unrest said:

I agree about Paul wanting to get back as Orbital because he knew he could get more attention than when he was 8:58 (loved that album BTW).

I'm very fond of 8:58, too (apart from the "A Forest" cover), especially the instrumental version with "Risky" as a bonus track. It's obvious that it was destined to be the Orbital follow-up to Wonky: it even has the same producer and the cover design by Farrow incorporates the same circular O he introduced to replace the classic elliptical Orbital logo.

In one interview they mentioned that Paul came into Monsters Exist with a bunch of tracks already nearly finished, so I'm guessing those are the ones he's got the credits for - Phil maybe added touches and flourishes, but they're obviously largely Paul's. It's nice to see Phil was involved in the bulk of the main album, at least. It still kind of saddens me that they've decided to split up the credits, though - it does make you wonder whether this was a significant part of why they broke up (both times). 

And yeah, Paul's comments about reforming being somewhat about actually having an audience have been fairly clear in interviews. They've both said they're happy to be on good terms with each other again, which is really nice - it's horrible to think they didn't actually talk for a few years. 

I do think of the 8:58 album as an Orbital album, because it more or less is. I always play Risky with the vocal version of the album as I prefer that one.

And yeah, I suppose it is a bit sad about the credits, but as Paul did write most, it's only fair. They did write my favourite one together which is Monsters Exist (my absolute favourite from the album). I play this one so much followed (very closely) by Dressing up in Other People's Clothes.

Now that Paul's got all this material out he'd been working on, maybe the next album will more of a joint thing....

I tend to play the instrumental version of 8:58 a lot more than the vocal one - but then Please, The Clock and A Forest are better with vocals. I should probably make a playlist of my ideal version of the album. It's my least favourite Orbital-related release, I think, but there are still some great tracks on there.

  On 9/22/2018 at 11:38 PM, LC1 said:

I have finally heard the Reoccurring Mix of "To Dream Again" from the HMV bonus disc and am pleasantly surprised that I find it's not pointless. Granted, it's even slightly shorter than the other mix, but while the basic structure is very similar, the production is quite different. The oscillating main part of the mix on CD 2 actually really grates on the ears (especially on headphones) from 1:15 onwards because it is very repetitive and too loud in the mix.

Would not mind hearing this version...sounds more like what I'm looking for, for this piece.

Ok, I might as well ask here since it's clear there are Orbital experts in this thread.  

Which Paul Hartnoll tracks should I add to my collection?  I have 8:58 and Ideal Condition, but not much else.

He did two for Wipeout Pure, they're really good. I've got them on CD. Also, P.E.T.R.O.L. (Final Drop Mix) he did as Orbital is good.

  On 9/23/2018 at 4:39 PM, purlieu said:

I tend to play the instrumental version of 8:58 a lot more than the vocal one - but then Please, The Clock and A Forest are better with vocals. I should probably make a playlist of my ideal version of the album. It's my least favourite Orbital-related release, I think, but there are still some great tracks on there.

Oh right, I love it.

Ok -- inspired by the banter on here about Paul, I decided to throw together a playlist based on his albums, loose tracks I have, and some recommendations by you fellows.  Never was a big fan of the overly orchestral stuff on Ideal Condition or the vocal stuff on 8:58, so I left most of that off.  Also he has some remixes that are very cringeworthy (looking at you David Gray), so I left those off too.

That being said, after putting this one together I feel like a have another very strong new Orbital album.  It's been fun to relisten to some of these and discover new stuff like the Culprit mix and Heatwork.  PETROL mix is awesome, but I'll add that to an Orbital playlist. Anyway, let me know what i'm missing.

1. 8:58 - 8:58 (instrumental)

2. Culprit 1 - Tricks (Paul Hartnoll remix)

3. Clarke Hartnoll - All Out

4. Please (remember 1992? PH remix)

5. Patchwork Guilt

6. Gloopy

7. Ignition

8. Jarre - Aerology (remixed by Paul Hartnoll)

9. 8:58 - Broken Up

10. Clarke Hartnoll - The Echoes

11. Old School Tie

12. Heatwork

13. 8:58 - Cemetary (Instrumental)

14. Clarke Hartnoll - Underwater

15. Simple Sounds

What about Nearly There? Love that one!

I like Single Function too.

Oh and Risky.

I really need to get a proper copy of The Ideal Condition. And the Long Range album, while I'm at it.

I like some of The Ideal Condition and most of the Long Range one.

Reached number 12 in the UK album chart, only one place behind The Altogether's peak, and their fifth highest charting album to date. Aphex's Collapse EP was at 11. 

Oh right. I was wondering how well it had done. That's good about Collapse too!

Album version of Hoo Hoo Ha Ha has really grown on me. Its just so catchy!!

Excellent interview with Fopp today. A couple of revealing snippets about how the brothers work and stuff we've been discussing in this thread:

  Quote

Why did we split? It’s really hard to describe in one sentence… I thought [Phil] was a dick! Sorry, I couldn’t resist that! We had different work ethics, he’s a party boy and I’m not. It becomes very wearing on the soul when you’re in a business partnership with someone who likes to party when you’re trying to be sensible and get on with it. It puts a strain on things. But I don’t care anymore – I’ve made my peace with him being a party man.

  Quote

Different tracks work in different ways. A track like Tiny Foldable Cities, I started it and then Phil came in and said, ‘I like that’, and we sat down and had a really nice day in the studio, and he added a couple of lines to the top of it and it was all good fun. Sometimes I write and he comes in on the last day and we’ll co-produce it and put it together.

  On 9/28/2018 at 1:19 PM, purlieu said:

 

  Quote

Why did we split? It’s really hard to describe in one sentence… I thought [Phil] was a dick! Sorry, I couldn’t resist that! We had different work ethics, he’s a party boy and I’m not. It becomes very wearing on the soul when you’re in a business partnership with someone who likes to party when you’re trying to be sensible and get on with it.

 

  On 9/28/2018 at 1:26 PM, mcbpete said:

 

  On 9/28/2018 at 1:19 PM, purlieu said:

 

  Quote

Why did we split? It’s really hard to describe in one sentence… I thought [Phil] was a dick! Sorry, I couldn’t resist that! We had different work ethics, he’s a party boy and I’m not. It becomes very wearing on the soul when you’re in a business partnership with someone who likes to party when you’re trying to be sensible and get on with it.

Weirdly (and based on nothing than looks and interviews) I'd always previously thought the party boy/serious boy dynamic was the other way round. Now I know this, looking at recent photos like this one, it definitely is now obvious!

 

Yeah does seem annoying in interviews. Paul's trying to answer the questions and Phil's acting a twat!

  Quote

Different tracks work in different ways. A track like Tiny Foldable Cities, I started it and then Phil came in and said, ‘I like that’, and we sat down and had a really nice day in the studio, and he added a couple of lines to the top of it and it was all good fun. Sometimes I write and he comes in on the last day and we’ll co-produce it and put it together.

That's interesting! They need to work together more.