Listen to this track by brotherly turntablists and pop culture mash-up men Phil and Paul Hartnoll, otherwise known as Orbital. It’s “Way Out →”, the epic lead track off of their 1999 album Middle of Nowhere.
Put all one-dimensional associations you may have of electronica, or worse “dance music” aside, and listen to the operatic glory of this track. Here, electronic samples and beats live quite happily along with warm, muted horns. This is music made for listeners, as well as dancers. In some ways, the Hartnolls were outside of the tecnhno scene, in that they never seemed to follow the trends. Trend-following is rife in techno. But, not so with Orbital and this track. Read more
Here’s a clipof British techno-geeks Phil and Paul Hartnoll, AKA Orbital with their take on a British musical institution – the Doctor Who Theme. The original theme was composed by Ron Grainer and realized in the studio by Delia Derbyshire in 1963 using electronics in the BBC Radiophonic workshop. The tape machines are not unlike the ones used by the Beatles to create their 1966 track “Tomorrow Never Knows”, also revered among 90s turntablists.
I’ve been a fan of the original show since I was a kid, the show being broadcast in Canada first on provincial TV, and then by American public television, beamed across the border. I was always struck by the theme song – kind of ghostly, otherworldly – and I’d always wondered what instruments they were using to create it. Basically, the original Doctor Who Theme is a series of sound affects moulded into a piece of music, including a middle-eight section. To me, it’s a towering achievement in sound. And the original piece, although translated by modern technology, is also the theme to the more recent version of the show, which picks up where the original show left off. Geeks like continuity, you see.
The first time I’d seen Orbital perform this one was live at the 1999 Glastonbury festival. They’d released their version of the theme on 2001’s the Altogether entitled “Doctor?”, but it was known to be a set favourite a few years earlier. This is more of an affectionate tribute than it is a serious take on making a viable single. And they would have been hard pressed to make this a representative piece. But, it’s the affection that makes this piece so charming. It reveals a funloving spirit, and a humanity that is often not associated with the genre. It’s also something of a tribute to Delia Derbyshire, who was able to find music in everyday objects, with the skill of being able to translate those sounds in accessible ways by using technology. So, the affection is also about what she created; music as organized chaos, pulling as it does from unlikely sources while being appealing and enduring too.