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Track Listings
| 1. Moebius |
| 2. Speed Freak |
| 3. Oolaa |
| 4. Desert Storm |
| 5. Farenheit 303 |
| 6. Steel Cube Idolatory |
| 7. High Rise |
| 8. Chime |
| 9. Midnight |
| 10. Belfast |
| 11. Untitled |
| 12. Macro Head |
Product Description
Amazon.co.uk Review
In the late 1980s, as American house and techno imports flooded Britain and the Acid House movement was sweeping the nation, brothers Paul and Phil Hartnoll were busy building Britain's own interpretation of the sound. Named for the illegal "Orbital" raves taking place around the M25, they dragged their equipment from party to party, playing live PAs of their homegrown dance music to enthusiastic crowds of revellers. Their 1990 single "Chime" was (and still is) the anthem of many a British raver, and their self-titled 1991 debut remains a classic. Opening with the exquisite mid-tempo anthem "Belfast", and containing the "Chime", "Satan", and "Fahrenheit 303" singles, this album captures the innocence and energy of the nascent rave scene. --Matthew Corwine
CD Description
This debut album from London's "bleep and bass" pioneers, the Hartnoll brothers, collects most of the thumping, home-made tracks that had been tearing up the underground "orbital raves" of London (from which they took their name) for the previous two years on vinyl. Their spine-tingling signature anthem "Chime" is here, along with the moody techno and Star Trek samples of "The Moebius". Meanwhile, "Desert Storm" and"Oolaa" shake and shimmer like dance floor hallucinations. For some listeners these old-school mixes of electro beats, sampler loops, and knob twiddlings will bring on a chemical rush of nostalgia. Others will just want to dance like it's 1991 and marvel at how influential this album obviously was on the vast output of electronica that followed in its wake.
From the Enya-esque vocal drowning in the whirlpool of sonic love on "Belfast" to the scintillating grid lines and chill-out ambient gliding of "Midnight", this release proves Orbital was setting trends from the get-go. One of the firstmajor techno releases to come out of the UK, this release (also known as "the Green Album") showed England could make techno tracks as brilliant as those coming out of the U.S., and then some.
In the late 1980s, as American house and techno imports flooded Britain and the Acid House movement was sweeping the nation, brothers Paul and Phil Hartnoll were busy building Britain's own interpretation of the sound. Named for the illegal "Orbital" raves taking place around the M25, they dragged their equipment from party to party, playing live PAs of their homegrown dance music to enthusiastic crowds of revellers. Their 1990 single "Chime" was (and still is) the anthem of many a British raver, and their self-titled 1991 debut remains a classic. Opening with the exquisite mid-tempo anthem "Belfast", and containing the "Chime", "Satan", and "Fahrenheit 303" singles, this album captures the innocence and energy of the nascent rave scene. --Matthew Corwine
CD Description
This debut album from London's "bleep and bass" pioneers, the Hartnoll brothers, collects most of the thumping, home-made tracks that had been tearing up the underground "orbital raves" of London (from which they took their name) for the previous two years on vinyl. Their spine-tingling signature anthem "Chime" is here, along with the moody techno and Star Trek samples of "The Moebius". Meanwhile, "Desert Storm" and"Oolaa" shake and shimmer like dance floor hallucinations. For some listeners these old-school mixes of electro beats, sampler loops, and knob twiddlings will bring on a chemical rush of nostalgia. Others will just want to dance like it's 1991 and marvel at how influential this album obviously was on the vast output of electronica that followed in its wake.
From the Enya-esque vocal drowning in the whirlpool of sonic love on "Belfast" to the scintillating grid lines and chill-out ambient gliding of "Midnight", this release proves Orbital was setting trends from the get-go. One of the firstmajor techno releases to come out of the UK, this release (also known as "the Green Album") showed England could make techno tracks as brilliant as those coming out of the U.S., and then some.
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