Water From A Vine Leaf

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I ’ m coming in from the cold,” announces William Orbit, as he prepares to release his first album for eight years. 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. William / Orbit (2002, Universal) – U.S. two-disc publishing CD set to support William Orbit's publishing catalogue [32] I’ve seen enough bad shit and, yes, I wanted some joy. We like our artists to be mawkish and sad, but I don’t necessarily believe they have to be broiling with sadness.” Another delighted smile. “I’ll be getting a tambourine out next.”

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. William Mark Wainwright (born 15 December 1956), [1] known professionally as William Orbit, is an English musician and record producer who has sold 200 million recordings worldwide of his own work, his production and song-writing work. [ citation needed] He is a recipient of multiple Grammy Awards, Ivor Novello Awards and other music industry awards. This section of a biography of a living person does not include any references or sources. Please help by adding reliable sources. Contentious material about living people that is unsourced or poorly sourced must be removed immediately. Ewing, Jerry (26 September 2023). "William Orbit to perform with Hawkwind at the Royal Albert Hall". Louder Sound . Retrieved 28 September 2023. Having made so many great albums, William’s advice to budding producers is simple and practical. “Working with someone as super-famous as Britney Spears is exactly the same in the studio as an unknown,” he notes.In 2015, his composition "The Name of the Wave" was used in the Oscar winning documentary Amy directed by Asif Kapadia. [21] Things came to came to fruition when a friend wanted to start a recording studio. That venture eventually became Guerilla Studios which has now been based in various locations over the past three and a half decades. a b c d Colin Larkin, ed. (2000). The Virgin Encyclopedia of Nineties Music (Firsted.). Virgin Books. p.35. ISBN 0-7535-0427-8. Strange Cargo III is the fourth album by electronic instrumentalist William Orbit. It is the third in a series of similarly titled albums: Strange Cargo, Strange Cargo II and Strange Cargo Hinterland.

Aspden, Peter (June 22June 2007). " Alluring echoes of Hoxton". Financial Times: FT Weekend, Life& Arts. www.ft.com. Retrieved 7 May 2017. Tingen, Paul (October 1991). "William Orbit: Urban Guerilla". Sound On Sound. United Kingdom. pp.58–64 . Retrieved 29 November 2020. He says: “As much as I love producing, it’d hold me up from the freewheeling life I’m in now. But if I got a call from Cher or Shakira asking to twist my arm, I’d say: ‘I’m twisting it for you already,’ because I’m a pop tart when it comes to working with divas.” 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.”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.” 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.” She’s blasted her ears from 35 years of performing on stage, so her headphones are up loud, but her ears are ridiculously good. She’s laser-guided and will spot any tiny sound. M knows how it all works in the studio, the same as she does with TV.

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’. They were discovered by The Police’s manager Miles Copeland and released two albums, but it wasn’t until rave that Orbit began having mainstream success. From THE HUMAN LEAGUE’s final Virgin album, ‘The Stars Are Going Out’ was a good tune from Oakey and Co that was one of four mixed by William Orbit in a bitty collection that also contained two songs produced by Martin Rushent and one by ex-ZTT cohort Bob Kraushaar. Strangely though, there appeared to be little of Orbit’s distinctive magic audible in the end result. It had been an unhappy time, as Orbit preferred to work without any of the band present, something they had not been prepared for.I’ve put myself in a slightly crass position with my new record, though, of thinking I’d like to get people to hear my stuff beyond the niche.” 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. Originally on THE ELECTRIC CHAMBER album ‘Pieces In A Modern Style’ via N-Gram Recordings, currently unavailable Not officially released, alternate demo version available on the CERAMIC HELLO album ‘The Absence Of A Canary V1.1’ via Vinyl On Demand Tall and slim, he looks at least a decade younger than 65, with the air of a successful academic rather than a rave survivor. William and Laurie Mayer met in London’s 80s squat scene, forming ambient band Torch Song.