This is a demo of Roland TB-303 Acid Sounds, a free collection of Roland TB-303 Bassline Synthesizer samples.

via LorDBassePL:

Acid Sounds from Roland TB-303 great for Hardcore/Rave/Hardstyle production.

At the recent Decibel Festival in Seattle, Splatinum appeared outside after the final show with their awesome mobile bike live rave station.

All was good with Splatinum’s mobile rave…..until the police showed up.

via thenowwave

Here’s how the producers describe it:

A Rave is a Rhythmic Assault mixed with Visual Ecstasy and if you haven’t experienced one, you’re about to… It’s Saturday night in Los Angeles and 6 teenagers throughout the city are in search of the hottest Rave in the city– it’s the weekend and they’re ready to PARTY.

Over the course of less than one day, we see a portrait of these kids finding their way; their paths crossing in a universal setting…a big city with all the temptations, attractions and dangers.

Unfortunately, Rave is a craptacularly bad waste of film.

The movie fails to capture the attraction of electronic dance music and it fails to tell a compelling, believable story.

Here’s my plot summary:

A bunch of kids decide on impulse to go to a rave.

They all end up either: dead, mutilated, or traumatized for life.

Rave is just spectacularly awful, a heavy-handed anti-rave morality tale, devoid of even the cheesy appeal of something like Reefer Madness.

If you see this on DVD, it would make an excellent addition to your coaster collection.

This multipart video documentary looks at the history of house music.

This is an interview with Sasha and John Digweed, produced for the South West Four Festival:

To coincide with their only joint UK festival performance this summer we are very pleased to bring you Sasha & John Digweeds first joint video interview in many years!

Usually shying away from video interviews we were lucky enough to catch this legendary duo on a recent trip to London. As both DJs are veterans to South West Four and as they are rarely are interviewed together, we are absolutely chuffed to be able to bring you this exclusive as the duo discuss their first joint UK festival performance together in two years, life on the road, their individual projects and more.

via LockNLoadEvents

Phil and Paul Hartnoll are reuniting as Orbital, after four years of relative obscurity, to headline UK’s Big Chill Festival in England, next August. 

“It’s not an exercise in nostalgia, the time just seems right. Everything just seemed to fall into place,” says Phil Hartnoll. “We’ve got 15 years of active service, making song. If you boil that down to a 90-minute festival set you should get something thoroughly exciting from beginning to end. Let’s put some fun back into it.”

The Big Chill set will be billed as Orbital: 20 years after Chime.

via In The Mix

bechillnow’s awesome Rave Cat.

Dozens of partygoers at an outdoor rave near Moscow have been partially blinded after a laser light show burned their retinas, say Russian health officials. 12 cases of laser blindness were recorded at the Central Ophthalmological Clinic in the city.

Ravers at the Aquamarine Open Air Festival in Kirzhach, 80 kilometres northeast of Moscow, began seeking medical help days after the show, complaining of eye and vision problems.

“They all have retinal burns, scarring is visible on them. Loss of vision in individual cases is as high as 80%, and regaining it is already impossible,” Kommersant quoted a treating ophthalmologist as saying.

Great light shows are almost a requirement for big electronic music shows. Unfortunately, it sounds like the organizers of this light show were either irresponsible or ignorant of the potential dangers of lasers.

via New Scientist

Movement 07, the Detroit Electronic Music Festival, is steaming up Detroit’s Hart Plaza, despite rain and the admission charge.

“It was a slow start,” says Jason Huvaere, president of Paxahau Promotions Group, which produced this year’s festival. “But after 4 p.m., people never stopped coming in.”

He said he’d grade Saturday a “B+” and by 9 p.m. Sunday, he was giving the second day an “A.”

“The weather finally broke, the mood is awesome and everyone’s having a good time,” said Huvaere.

Performers have ranged from Monolake, above, to ambient artist Robert Rich.

Rich said he usually turns down invitations to play outdoor festivals like Movement. But his set on Sunday was met with whoops and hollers, and prompted calls for an encore he couldn’t play because of time restraints.

“I’m used to playing in much quieter settings,” says Rich, who prefers small auditoriums and planetariums. “But there’s a time and place for everything, and it was fun getting out here and rocking out a little bit.”

Even as the rain came down, though, fans continued to move and gyrate in front of the stage.

Lauren Theil, 18, of Dublin, Ohio, sees the festival as a tradition that must, no matter what, continue. “This festival helps to keep this city alive,” she said.

via Detroit News

Photos: TheBeej, Plaubel Makina, Stirhouse, shawnvanbrunt

Named after Greater London’s own circular autobahn, the M25, central to the early Rave scene and party network in the South East of England during the halcyon ‘daze’ of Acid House, Orbital is made up of brothers Phil (born 09 Jan 64) and Paul Hartnoll (born 19 May 68).

From their beginnings producing simple but infectious top 20 Pop-Dance tunes, to their more recent albums, film & TV scores and beyond, Orbital has crafted some of the most innovative yet accessible electronic music. One of their greatest achievements is their longevity, which is firmly based on a sound that is recognizably their own, coupled with a will to proceed at their own pace and on their own terms with little regard to the industry machinations that surround them or the musical fads and trends that come and go.

Originally from Sevenoaks (a suburban ‘commuter reservation’ somewhere in deepest Kent) the Hartnolls grew up listening to second generation punk (Crass, Dead Kennedys, Crucifix…), mutant-electro (Severed Heads, Hula, Adrian Sherwood…) and early Hip Hop (Phil went over to New York in the mid-eighties in order to ‘find’ Hip Hop). By 1988 Paul had contributed two electro pieces (!) to FFrr’s “House Sound Of London Volume 4″ under the name D.S.Building Contractors, but it wasn’t until the following year that the first true Orbital release emerged: the single “Chime”.

The original 1,000 copies released through Jazzy M’s Oh-Zone label sold out immediately through word of mouth alone and the track was picked up by London Records subsidiary FFrr with whom it soon became a nationwide Dance anthem. This translated into a number 17 singles chart position and gained the Hartnolls a ‘Top Of The Pops’ appearance where they ‘performed’ whilst sporting anti Poll Tax T-shirts. A decade later, the often sampled and bootlegged “Chime” is still regarded as a classic and has remained one of the highlights of many a live set over the years.

In the period 1990-1991 the burgeoning UK dance scene was still very much perceived as a short-lived phenomena with limited crossover potential and the very idea of a ‘dance’ artist producing an album as opposed to an endless stream of 12″ cuts for club consumption was still a relatively uncommon occurance, yet when Orbital released their untitled debut long player, or “green” album, it was to unanimous critical approval and was early proof that dance/electronic music could after all produce albums that would have to be taken as seriously as those produced by conventional Rock acts. Over the coming months remixes carried out by Orbital became further evidence that the Hartnoll brothers had by now established a distinctive sound of their own whilst retaining a characteristically diverse approach to their work.

In the summer of ‘93 they became instrumental in setting-up and then went on to headline the Midi Circus Tour, a roaming electronic extravaganza which travelled the UK spreading the latest word on live dance music. Next came the release of their second album. Once again an untitled double LP, it became a resident in the upper reaches of the UK Indie album charts for the next few months. The “brown” album, as it’s now generally referred to, bore the now classic Orbital live standards “Halcyon+on+on”, “Remind” and “Impact (The Earth Is Burning)”, going on to feature highly in most end-of-year Best Album polls. A tour of the US (their second) and two sell-out nights at the Brixton Academy (New Years Eve and New Years Day) finally brought Orbital’s hectic year to a close.

March 1994 saw the release of their John Peel session (recorded the previous Autumn) which featured two tracks re-worked from the “brown” album together with two new compositions. At Glastonbury, Orbital played the coveted final slot on the second stage, previewing some of the new material from their soon to be released third album. The show was a resounding success and sections were broadcast by Channel 4 and John Peel. On its release, “Snivilisation” entered the album charts at number four, quickly followed by the single “Are We Here?”. The album broke the hitherto ‘no title’ rule and sported for the first time a non-graphic cover courtesy of noted painter John Greenwood. Musically, too, it was a departure from their previous collections, the material being far more disparate in style than before. On the accompanying “Are We Here?” UK tour Orbital played to packed houses throughout the UK where they played ‘in the round’ from the top of a specially constructed scaffolding tower before heading off to play the Woodstock 2 festival in the US.

1995 saw the release of their remix of Madonna’s “Bedtime Stories”, followed by a triumphant headline slot at Tribal Gathering and Main Stage performance at Glastonbury, which many thought even better than that of the previous summer. The year’s new material came in the shape of a track recorded for the Sony Play Station game “WipEout”, an untitled EP featuring “Times Fly” (which proved to be too long to be eligible for chart inclusion) and a track, “Adnan”, donated to the “Help” compilation.

In April 1996 Orbital released a new single, the dulcimer-driven “The Box” (number11), quickly followed by their fourth long player, “In Sides”. Perhaps their most adventurous collection up until that point, the album may have been a more studied and sombre affair than “Snivilisation” yet the Hartnolls’ love of film soundtracks revealed some startling results, and though it’s well-crafted mixture of beats and cinematics unwittingly opened the floodgates to a stream of largely uninspiring copycat James-Bond-with-a-dance-beat efforts, “In Sides” was universally acclaimed and entered the album charts at number five on week of release.

By May, the Hartnolls had embarked on their first full UK tour for over two years which included a triumphant performance at a filled-to-bursting Royal Albert Hall, proving once and for all that Orbital had finally escaped the limiting definitions of ‘Techno’, ‘Dance’ et al, whilst at the same time taking live electronic music even further into previously uncharted territory. By the end of the year “In Sides” featured highly in most of the 1996 Best Albums polls. On New Years Eve Orbital played to 12,000 people at Alexandra Palace and released a live version of “Satan”. The track had originally been recorded in 1991, though it had only reached as far as 31 in the charts when it was released that year as a single. This time around it entered at a much more convincing number three.

In April 1997 Orbital went on to release their own version of the theme tune to the 60’s cult TV classic “The Saint” from the soundtrack of the Hollywood remake. The film itself (understandably) received mixed reviews though the single became the Hartnolls’ second UK top three success since Christmas, whilst on the live front that year Orbital’s main appearances were at Tribal Gathering, two sets at the Pheonix Festival and the closing slot on East coast leg of Lollapalooza in the States.

To mark the first ten years of Orbital activity, they undertook their most successful and comprehensive UK tour to date and soon after released their fifith album, “The Middle of Nowhere” which became their third consecutive Top 5 album chart placing, once again entering at number three, and again at the receiving end of great critical acclaim.

After taking a short and well-earned break the Hartnolls began recording a brand new album ‘The Altogether’ which was released in April 2001, meanwhile in June 2000, they supplied ‘Meltdown’ an exclusive new piece of music for a modern dance project as part of the South Bank Centre’s Meltdown Festival which is this year curated by one of the Hartnolls’ all time heroes, Scott Walker. After the release of ‘The Altogether’ they headlined the Homelands festival and went onto tour the UK and America including 2 nights at Brixton Academy.

In 2002 the best of album ‘Work’ was released and Orbital yet again played a triumphant set closing the second stage at Glastonbury on the Saturday night.

During 2003 Orbital scored the UK indie film ‘Octane’ directed by Marcus Adams and starring Madeleine Stowe. The soundtrack album was released in October on EMI. They also scored the US FOX TV series ‘Keen Eddie’ as well as writing music for the Australian film ‘One Perfect Day’.

2004 will see the last ever Orbital record and gigs. After 15 years together Phil & Paul will pursue different projects but will be finishing with a Brixton Academy show and closing Glastonbury on the second stage. The 7th studio LP the ‘Blue Album’, is expected to be their last.

Chronology

1989

Although still without name, Paul & Phil Hartnoll play live for the very first time at The Grasshopper in Westerham, a ‘Bernie Inn-style’ establishment complete with carvery and big plates, located somewhere on the Kent/Sussex border. Late as usual with names and titles, the Hartnolls elect to call themselves Orbital in celebration of the M25, that dreaded stretch of tarmac that encircles the capital and which at the time plays a central role in the Rave and Acid House scene in the South East. ‘Chime’ is recorded at home in Dunton Green near Sevenoaks on skeletal studio equipment and is mastered from cassette for release on Jazzy M’s independent Oh-Zone label. There is a buzz surrounding the track and the original one thousand 12″ singles sell out immediately through word of mouth. More copies are pressed up but supply cannot satisfy demand.

1990

February: Orbital join the Synergy tour. Other live shows that year include Kaos at The Warehouse in Leeds and Energy at Docklands Arena alongside Guru Josh, The Shamen, Black Box, and Adamski. In March ‘Chime’ gets nationwide distribution by London Records dance subsidiary FFrr. It becomes a nationwide dance anthem and soon reaches No.17 in the UK singles charts which results in an invitation to appear on Top Of The Pops. Prevented from playing live and forced to mime, they give a reluctant performance, to say the least, whilst sporting anti-Poll Tax T-shirts. The follow-up single ‘Omen’ featuring vocal samples from ABC peaks at No.46.

1991

January: ‘Belfast’ c/w ‘Satan’ is released – highest chart position is No.31. The intro to ‘Satan’ is sampled from US rockers the Butthole Surfers.

Another double-A sided single ‘Choice’ c/w ‘Midnight’ follows in August; the anti-war rant included in the former is provided by Crass label signings Crucifix. It is followed in September by the untitled debut, or ‘green’ album featuring live versions of ‘Chime’ and ‘Midnight’ along with ‘The Moebius’ and ‘Desert Storm’, the latter being recorded to a backdrop of Gulf War TV news flashes. They remix and completely overhaul The Pied Piper’s ‘Kinetic’ and in December headline Australia’s biggest rave to date in Sydney on New Years Eve. Paul buys a digeridoo. As you do.

1992

February: The ‘Mutations’ EP is released featuring remixes of tracks from the first album courtesy of Joey Beltram, Moby, Meat Beat Manifesto, Dave Angel etc. It also includes their own remix of ‘Chime’, retitled as ‘Crime’. ‘Mutations’ reaches No.24. Orbital remix Meat Beat Manifesto, EMF and The Drum Club. Orbital relocate to newly formed London Records subsidiary Internal in September and release the ‘Radiccio’ EP which features ‘Halcyon’ and ‘The Naked & The Dead’ which features vocal samples of Scott Walker. Highest chart position is No.37. Orbital use battery operated light headsets for the first time. Though purely functional (they enable Orbital to work their machinery whilst onstage) the headsets soon become a trademark that is often copied by others. In November they embark on their first US dates. The ‘Communion’ tour, with Meat Beat Manifesto, Ultramarine and local DJs cover East and West coasts …and the ‘Deliverance’ bits too.

1993

\April. ‘Lush’ is released with remixes by Underworld, Psychick Warriors Ov Gaia and CJ Bolland. The single reaches No. 43 in the singles charts.

Orbital are instrumental in setting up the ‘Midi Circus’ tour of the UK which they go on to headline. In May the second untitled, or ‘Brown’ album is released entering at the charts at No.28. It includes ‘Impact (The Earth Is Burning)’, ‘Remind’ and an upgraded version of ‘Halcyon’ -

‘Halcyon+on+on’. A session is recorded for John Peel and is broadcast in September. Orbital headline the Megadog New Years Eve show at Brixton Academy.

1994

March: The Peel session is released. Due to Industry guidelines it is ineligible for the charts. In June Orbital play Glastonbury, previewing material from their forthcoming album, and establish their live reputation on the highest level. ‘Snivilisation’ is released in August entering the album charts at No.4. They appear at the Woodstock II Festival in the States. In September the ‘Are We Here?’ single reaches No.32. The UK tour lasts throughout October – twenty sold-out dates played ‘in the round’ from the top of a specially constructed scaffolding tower at each venue. Brixton Academy sells out rapidly and a second London date is arranged for the Kentish Town T&C.

1995

February: Orbital’s remix of Madonna’s ‘Bedtime Story’ is released. In

April, Bristol Sound City. They play via ISDN from their studio, previewing a new track ‘Times Fly’ as part of the live broadcast of Radio One’s Interactive Night and in May headline Tribal Gathering at Otmoor Park, Oxfordshire. Over 25,000 people attend the event. They play the Main Stage at Glastonbury on the Saturday evening in front of an estimated 60,000. Many feel the performance eclipses even that of the previous year. Excerpts are broadcast on television by Channel 4. A new untitled EP (’Times Fly’) is released in defiance of chart rulings which ensures its exclusion from the singles charts.

1996

April: ‘The Box’ single is released, entering the charts at No.11, followed in May by the fourth album ‘In Sides’, which enters at No.5, soon selling over 100,000 copies in the UK alone. It features ‘The Girl With The Sun In Her Head’ recorded with the aid of Cyrus, the Greenpeace mobile solar generator. Later that month they embark on an extensive UK tour and sell out the Albert Hall in London, followed by sixteen European festival dates. In August they play V96 and headline The Greater London Earth Energy Music festival. October: they perform a blistering new version of their forthcoming single ‘Satan Live’ on ‘Later With Joolz Holland’ as fellow guests Jackson Brown and Joe Cocker stare in open-mouthed bewilderment. On New Years Eve, Orbital play to 12,000 people at Alexandra Palace and mix ‘Chime’ with the chimes of Big Ben at midnight. Unforgettable. The show is broadcast on New Years Day on Radio One.

1997

January ‘Satan’, which reached No.31 on its original release in 1991, now enters as ‘Satan Live’ at No.3 in the first week of the new year. Later in April, and now relocated back to the FFrr label, Orbital release ‘The Saint’, the theme tune from the Hollywood remake of the classic 60s cult TV series starring Val Kilmer. The promo video features a cameo by Roger Moore.

The film itself receives mixed reviews though the single enters at No.3. In May Orbital co-headline Tribal Gathering alongside Kraftwerk and throughout June play the final slot on the East Coast leg of Lollapalooza tour in the US. Channel 4 broadcasts ‘The Visit’, a gritty, real-life thirty minute drama set in Hull young offenders prison: all acting is by the inmates, whilst Orbital provide the soundrack. Another version of ‘Satan’ is recorded with Metallica’s Kirk Hammett for inclusion on the soundtrack to the film ‘Spawn’. In July Orbital play two shows at the Phoenix Festival: Radio One broadcast Orbital’s Dance Tent set. The following month sees the release of the soundtrack to ‘Event Horizon’, a collaboration (of sorts) between noted Hollywood composer Michael Kamen and Orbital for the sci-fi horror. In the autumn work begins on building a new studio.

1998

The Orbital studio is upgraded and work commences on the new album.

1999

To mark the first ten years of Orbital activity, they undertake their most successful and comprehensive UK tour to date which followed soon after by the release of their fifth album, “The Middle Of Nowhere”. This becomes their third consecutive Top 5 album chart placing, once again entering at number three, and is again at the receiving end of great critical acclaim. A single, “Style”, is Top 20.

2000

After taking a short and well-earned break the Hartnolls begin work on their sixth studio album. This time the recording uses 3D SurroundSound technology. In June they supply an exclusive new piece of music for a modern dance project as part of the South Bank Centre’s Meltdown Festival which is this year curated by one of the Hartnolls’ all time heroes, Scott Walker, whilst in October they play a one-off live show at the Hammersmith Palais as part of Q magazine’s pre-award ceremony celebrations: one of three new tracks previewed on the night (”Tension”) is later broadcast on Channel 4.

On New Years Eve they round off the year with a live set at the London Arena in Docklands. The set is broadcast the following day on Radio One.

2001

Orbital release their sixth studio album ‘The Altogether’ and their first DVD with 5.1 SurroundSound. They headline Homelands and embark on a UK Tour including 2 shows at Brixton Academy.

2002

‘Work’ the greatest hits album is released. Orbital close the second stage at Glastonbury on the Saturday night and also play 2 open air concerts at Somerset House on the Strand in London.

2003

Orbital score the music to the horror film ‘Octane’ directed by Marcus Adams and starring Madeleine Stowe. The score album is released by EMI in October. They also score the US TV series “Keen Eddie” and begin working on tracks which will become the “Blue Album”

2004

Orbital announce that the “Blue Album” released on the 21st June will be their last album and will play their final shows this year.

“Orbital has run its course,” explains Paul. “We’re both pursuing different avenues with our music. And we’ve been sat, as brothers, in the same room for 15 years now–and studios are always confined spaces–I think it’s time for a change.”

From their beginnings producing simple but infectious top 20 Pop-Dance tunes to their more recent sophisticated top 5 Pop-Dance tunes, classic albums, film & TV scores and beyond, Orbital have crafted some of the most innovative yet accessible electronic music since their inception in 1989. One of their greatest achievements is their longevity, which is firmly based on a sound that is recognizably their own, coupled with a will to proceed at their own pace and on their own terms with little regard to the industry machinations that surround them or the musical fads and trends that come and go.

The brothers extra–mural interests have all informed the character of The Blue Album, the bands seventh, which evolved gradually over the course of 2003 with the band free from record company expectations and schedules for the first time since their career began. “If anything,” says Paul “It’s closer in character to our first album than our later ones, if only because we made it in our own time and for ourselves.”

Noted for their collaborations, Orbital’s last album is no exception featuring work from fellow sibling legends, Sparks. “We wanted some vocals on the track Pants, something fairly odd, and thought Sparks would be perfect,” says Paul. “It turned out they’re quite up for a bit of collaboration and said yes when we approached them. After we’d asked them I set about listening to some of their recent work and was pleasantly surprised to find it was even more bonkers than their original stuff. It was all done across the Atlantic, via file sharing and CD’s, and when we heard it we realised it was really a track in it’s own right so we remixed it and it’s ended up here as Acid Pants, it’s own thing.”

“We’ve got another track, One Perfect Sunrise, we did with Lisa Gerrard who was in Dead Can Dance, singing on it. That’s a spin off from something we wrote for a Sunrise scene, in another film …that’s turned out well.”

Another audible influence on the album is that of legendary transsexual composer Walter/Wendy Carlos. “Absolutely,” says Paul, “I tried to do something with a sort of Clockwork Orange feel, and that became Bath Time. It started off by being hummed in the bath on tour before I was about to go and meet everyone for a pint in San Francisco. Got out of the bath and scribbled it down on my laptop and finished it over last summer, adding little bits in buses and vans while I was travelling. And it went on from there. It became like Clockwork Orange and Kraftwerk combined. Electronic music for electronic music’s sake, dodging all real instrument sounds.”

Blue Album Tracks

1. Transient
2. Pants
3. Tunnel Vision
4. Lost
5. You Lot
6. Bath Time
7. Acid Pants
8. Easy Serv
9. One Perfect Sunrise

“I think we feel that Orbital has run it’s course,” says Paul Hartnoll. “We’re both pursuing different avenues with our music. And we’ve been sat, as brothers, in the same room for 15 years now–and studios are always confined spaces–I think it’s time for a change.”

Since their first single, ‘Chime’ entered the top 20 in April 1990 Orbital have released six albums. They have helped to shape and develop both the character and credibility of electronic music beyond the acid house scene that they came from.

The brothers extra–mural interests have all informed the character of The Blue Album, the bands seventh, which evolved gradually over the course of 2003 with the band free from record company expectations and schedules for the first time since their career began. “If anything,” says Paul “It’s closer in character to our first album than our later ones, if only because we made it in our own time and for ourselves.”

Fans will recognise the trademark Orbital sound when they hear it. Familiar themes from previous albums, such as religion, are also present.

“There’s a couple of references to that,” says Paul. One of my favourite tracks, “You Lot” has got this speech from Christopher Eccleston from this fantastic drama called The Second Coming. I just really loved that programme and that speech is quite typically orbital, like our other track Forever, that’s got a speech halfway through and I really love the sentiment behind that. That whole programme was about the second coming, obviously, and God.”

“We’ve got another track [One Perfect Sunrise] we did with Lisa Gerrard who was in Dead Can Dance, singing on it. That’s a spin off from something we wrote for a Sunrise scene, in another film …that’s turned out well.”

Another audible influence on the album is that of legendary transsexual composer Walter/Wendy Carlos. “Absolutely,” says Paul, “I tried to do something with a sort of Clockwork Orange feel, and that became ‘Bath Time’ . It started off by being hummed in the bath on tour before I was about to go and meet everyone for a pint in San Francisco. Got out of the bath and scribbled it down on my laptop and finished it over last summer, adding little bits in buses and vans while I was travelling. And it went on from there. It became like Clockwork Orange and Kraftwerk combined. Electronic music for electronic musics sake, dodging all real instrument sounds. Wheras ‘Easy Serve’ is weird supermarket muzak, almost like hospital muzak. Maybe it’s a supermarket where they only sell hospital items. Here’s the lip section…Either way, it’s not going to be a coffee table album. But then we’ve never done one of them. Maybe a coffee table album at three in the morning, when everyone is blind drunk and no one can remember anything anyway.”

With the album complete, the band is turning their attention to their final show at Glastonbury. An appropriate venue for a farewell as it was here, exactly ten years before that Orbital delivered a live show that Q magazine listed as one of the fifty greatest live show of all time. “It’s nice to know that we’re finishing, it’s not many bands that do that. They tend to just fade away. And it’s nice to have our last gig at Glastonbury. It’s gonna be a party set, a best of Orbital. We’re not gonna sit there and try and promote the new album. I think if we’re gonna do a last gig we should do distilled set of all the best stuff we’ve done. And that’s what we’re gonna do, play all the stuff that’s stuck around for all this time because they are the favourite ones. This will definitely be our last ever live shows,” confirms Paul, “Although I’m sure Status Quo keep telling themselves the same thing.”

Details on their upcoming album are available at the Orbital site.

Modulations serves as a good introduction to the various genres of modern dance electronica. It was was written to accompany Iara Lee’s 1998 film of the same name. It is written in a hip style by people you can tell really love electronica. It is stylishly put together, and includes many great photos that give you a feel for the musicians and the scene they were making music for.

The book is written by a variety of musicians and critics, and edited by Peter Shapiro. They cover electronic music from the early artists like Varese to today’s dance electronica.

The book does a good job of covering most of the dance current styles of electronic dance music. It covers house, trance, rave culture, electropop and techno well. It doesn’t do a good job of covering styles that aren’t dance-oriented. There is almost no coverage of electronic music in the worlds of jazz, classical, new age,  or rock.

Because of the uneven coverage, Modulations serves as a good introduction to modern dance electronica, but doesn’t live up to it’s claim of being “A History of Electronic Music”.