I ’ m coming in from the cold,” announces William Orbit, as he prepares to release his first album for eight years. William emphasises he’d continued to work during the bad times, stating: “I was never more than 20 yards away from my rig, and I went up a lot of blind alleys. Carrera Presents Liberatum Hong Kong International Festival of Culture. "Carrera Presents Liberatum Hong Kong International Festival of Culture", 'Lisa Baker Associates Limited', 22 March 2012. That balance between glamour and toil was epitomised by working with Madonna on one of the all-time great pop albums. ARIA Charts – Accreditations – 2003" (PDF). Australian Recording Industry Association . Retrieved 5 September 2022.

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.

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He participated in the Liberatum International Cultural Festival [19] in Russia, during which he performed DJ sets in Moscow and Novosibirsk, Siberia. That’s the primary role of a producer: be there. When it’s the artist’s project, they need to be able to be in the moment and know that it’s being recorded by someone who’s listening. Don’t ever neglect them.”

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’. William has “masses of DATs” from the album sessions that could go towards a deluxe edition, as Madonna wanted everything to be recorded, which chimed with Orbit’s own ethos. Not officially released, alternate demo version available on the CERAMIC HELLO album ‘The Absence Of A Canary V1.1’ via Vinyl On Demand At least William’s production and remixing career continued to thrive, but his eclectic talents were so hard to pin down that, by 1997, Orbit didn’t have a manager.He performed in 2015 in Almaty, Kazakhstan, and at a gala at Banqueting House in London's Whitehall for the charity Together for Short Lives, a group that sponsors and supports children with terminal illnesses and their families. [22] Goodyer, Tim (November 1990). "The Heart Of The Bass". Music Technology. United Kingdom. pp.52–56 . Retrieved 29 November 2020. During hours of studio time, if something marvellous does happen, you’d better capture it,” he smiles. “A lot of what you hear on Ray Of Light are moments captured when we didn’t really know that the tape was rolling.” As its title implies, Bassomatic’s debut album Set The Controls For The Heart Of The Bass was as indebted to Pink Floyd as The Beatmasters. I could do an hour-long radio show on just that song. Madonna would rag me all the time in the studio, and it’s all on tape. I’d love to do an edit of her best insults at me! Her workrate, though – it’s second to none.”

Comprising Orbit, Laurie Mayer, Grant Gilbert and latterly Rico Conning who subsequently worked with Martin Gore on the ‘Counterfeit’ collection, TORCH SONG were signed by music entrepreneur by Miles Copeland; the advance allowed for Orbit to build up his Guerilla Studios. ‘Prepare To Energise’ is probably still their best known tune, a pulsating cosmic club favourite with robotic voices and synthesized textures which featured in the film ‘Bachelor Party’ that was maybe ahead of its time. Producing a long awaited follow-up to his original electronic classical collection, ‘Pieces In A Modern Style 2’ continued where its predecessor left off, offering another predominantly chill-out album that had some good tunes. But one of the bonuses was an unexpected novelty in a sparkling technopop version of Georges Bizet’s opera standard ‘Carmen’, complete with stabbing synths and dramatic percussive passages to portray the seductive title character as a kind of Barbarella.I'll Never Love Again" – Lady Gaga, Natalie Hemby, Hillary Lindsey& Aaron Raitiere (songwriters) (2019) Aspden, Peter (June 22June 2007). " Alluring echoes of Hoxton". Financial Times: FT Weekend, Life& Arts. www.ft.com. Retrieved 7 May 2017.