Orbital – Monsters Exist

By starrymag | September 20, 2018

By: Jamie Steinberg

 

 

Q) How would you describe your sound?

A) On this particular album, Monsters Exist, I would describe my sound as being influenced from a lot of the score work I’ve done over the last five years and the continuation really of my previous work from the 8:58 album and the Wonky album that came before it. It feels like a continuation, but definitely a lot of the score work I’ve done over the last five years seems to have come out a lot on this album.

Q) Who are some of your musical influences?

A) Okay, here is the long list…Definitely Craftwork and The Seven Heads. Those are two strongest musical influences in the electronic sphere. Possibly Front 242 as well. Those three, but also sort of culturally and the soul of the music I guess I would argue that bands like Crass and the Dead Kennedys. Or the two-tone movement like The Specials and Madness of the Beat. That sort of thing was a big influence on me.

Q) Talk about the story behind your single “P.H.U.K.”

A) It came about from trying to do some sort of old school dance record, the sort that kind of had two parts to it. There was a crazy sort of dancey part to it and then a sort of smooth, soft breakdown. So, that was the structure and sort of influenced from the Bleep era of 1990 or 1991 where there was a lot of Bleep music. Labels like Warp Records were at the forefront of that one. That’s how I would describe the story behind the new song. It is kind of turned into a bit of a sort of anthem for the new world with Brexit happening for me. It is kind of almost hysterical with its sort of upbeat stuff – and I say that “hysterical” like a clown car with the wheels about to fall off. And then a sort of sad, melancholy underbelly.

Q) What is it about the song that you think fans connect?

A) It’s just a good old-fashioned dance track with a sort of basic element that just works on people. I have been playing it live since December last year and it always seems to work. The dancey part always seems to get people going and the smooth part gets people waving their hands in the air. I think it’s just good old-fashioned dance music, no mucking around.

Q) Talk about working with Felix Green on the video and how the video plays into the message of the song?

A) We told Felix what it was about and what we were thinking about the state of Britain and the state of Brexit. Then, he took that idea and ran with it. He scoured the internet and various sources to make a video that was edited to go in time with what was going on. Crucially, it was to reflect the state of decay and the inequality around the UK at the moment. That’s what he did and I think he did a great job.

Q) What is your song writing process? Do you need a beat before you can write lyrics?

A) One, I’ve never written a song in my life and two, I don’t write lyrics. [laughs] Joking aside, if we do want a track with lyrics we tend to come up with a piece of music and then it get to a point where you think, “I think this track could do with some vocals or lyrics.” So, from there you think, “What kind of vocals would it need?” Then, you contact the right singer and then basically leave the tricky part of coming up with the lyrics to them. I’m not really a songwriter. That’s kind of how we did it with Brian Cox on “There Will Come a Time.” We kind of decided that we wanted to do something, and it came out like then and then we asked him to come up with some words. He came up with something first and then I started to score something underneath as a rough draft. Then, we went from there.

Q) How much of a hand do you have in the production of your music?

A) Fully in control of the production of my music. I don’t really produce with other people. That’s part of the world of electronic people. Most people in the world of electronic music produce their own work. I do; however, like to work with an engineer or a mix engineer. And I like to co-produce with people. I like to give the mix engineer free creative reign. I like creative mixing. Mixing is still part of the electronic process for me. I’ve thoroughly working in the past with Mickey Mann who mixed and co-produced quite a lot of albums in the past. Flood has done a couple of albums with me and a TV series. That was great working with him. Then, recently on this album, we worked with Steve Dobb. We bounced ideas off each other to get the mix right.

Q) What can fans expect from a live Orbital performance?

A) The fans can expect a full-on show of video, improvisational electronics based on the songs that we have. We always come in knowing the songs that we are going to play and the order that we’re going to play them and then jam with a structure so that the whole thing is properly live. You never know how long the track is going to last and you kind of feed off the audience. If they are really loving something it changes the way you perform the track. And if they’re not loving it, hey, you might move on quicker. You never know. You just kind of get this natural feeling from the audience as to where you are going next. Video wise, we have a really good light show at the minute. The videos are kind of enveloped in screens. We’ve got some of Felix Green’s stuff in there now. We’ve got some new video being generated. It’s always being updated and changed. It’s sort of an improvisational show with all your tracks.

Q) What songs off Monsters Exist are you looking forward to performing live?

A) Currently, we’ve been performing “P.H.U.K.,” “The End is Nigh” and “Tiny Foldable Cities.” They’ve all been great fun. But I’m really looking forward to playing the track “Monsters Exist.” I think we’re going to open the show with that. I’d love to play “Hoo Hoo Ha Ha” and I think I’d also love to play “The Raid” as well. There are a lot of them. “Buried Deep Within” maybe. Maybe not. But definitely “Vision One.” I’d love to play that. That would be a good one! We’re not going to be able to play them all. We might have to play some and then change it around again in a year and see how ti goes. Try some out and then change it.

Q) What do you hope listeners take away from the LP as a whole?

A) I hope they just take away the feeling of just having spent an hour worthwhile. I hope they take away a feeling you sort of get from watching a good film that is spiritually uplifting. The theme of the album isn’t necessarily uplifting. It’s a warning that monsters exist and the state of the world. It also has some positive moments. I think Brian’s speech at the end of the album on “There Will Come a Time” is a very positive note to end on. So, hopefully people will come away with positivity and enjoyment and I hope they feel satisfied.

Q) Where are some of your favorite places to perform?

A) Festivals! I love playing festivals. To be honest, I love anywhere I play. It’s down to the audience. If you have a good audience then you’ve got a good gig. Playing in a small place can be brilliant as well. Even playing Glastonbury can be awesome when you see that many people in front of you. But there is something special about playing an outdoor festival when the sun is just setting, and you watch it get dark as you play. That is quite special.

Q) Who would you most like to collaborate with on a track?

A) I would say Kate Bush. That’ll do. Actually, on top of that Slaves. We keep threatening to do something with the band Slaves. They’re from Kent as well, but one of them lives in Brighton. We met at a festival and got on really well. They are kind of a Brighton based punk band, so I’d love to do something with them.

Q) What band and album are you currently listening to and why do you dig them?

A) I keep searching new stuff at the minute and I’m not really coming across things that I like. I’ve been listening to recently a lot of John Brooks who does stuff on Clay Pipe Records and also under the name of Advisory Circle. I have been listening to a lot of Joanna Newsome. Nothing new particularly. Then, a bit of Imogen Heap. New stuff? I haven’t really found anything I like at the moment. I keep trying and then, neh. Nothing really. Belle and Sebastian. I quite like their album.

Q) You are a part of social media. Why is this such an important way for you to connect with your fans?

A) Because it’s just how people interact now. It’s a modern way. I have mixed feelings about social media. It can be a real time stealer, but at the same time it’s great fun as well. You just have to keep on top of it. Why is it important? It’s what people do now. It’s such an important way to connect with people. It’s where people go to find out what’s happening. It’s a funny question, really. It’s a bit like saying, “Why do you read the paper,” as you would have twenty years ago. It’s just what goes on.

Q) What would you like to say to everyone who is a fan and supporter of you and your music?

A) Thank you so much for sticking with us through thick and thin. I’m really sorry we had to dissolve twice and come back. I’m really sorry we left you in the wilderness for those nearly ten years – at various times. The band isn’t going to stop anymore so we’ll continue on into the future with no end in sight. Do not worry and we will keep supplying you with hopefully certainly fabulous music on our end. Music that we like. I will not stop writing music that I like and hopefully you will like it, too. That’s what it is for me. It’s a voyage of discovery and I hope that we can stay on it together. Anyone that has stuck with us for thirty years – thank you so much for doing that. Hopefully, you can stick with us for another thirty. Thanks!

 

 

All Questions Answered by Paul Hartnoll