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William Orbit

Orbit unplugged

This must have been quite a challenge?

“It has, quite a challenge. But really enjoyable, and it feels very natural. The same forces are at work, say in the second half of a Strange Cargo album, when things start to turn into that dream world, whatever that world is I create. It’s the same world. There’s a huge amount of common thread."

But it must have stretched you. How much have you had to dig deep for this?

"A lot. For some reason, it took me by surprise. It seems to draw more out of you and I don’t know why it is. I’m still trying to figure out why I get more wrapped up in this. Why is it much more of a catharsis than say doing something with synthesisers? I can’t quite figure that out. But it is. And it’s been quite strong in that respect. Maybe because it’s more focused, maybe one is less caught up with the trappings of production. It’s much purer. I think it might be like when playwrights write pure drama as opposed to complex dramatic works. It must be a very much more raw window into one’s soul. And I think that is what’s going on here."

And you’re communicating this to 100+ musicians instead of a synthesiser..

"Real people, 120 really good musicians, every one of them sitting there interpreting and putting themselves into it. They’re all stakeholders in this and that’s very important. And there’s a conductor who is going to hugely influence things. And I find that hugely exciting."

What was the first rehearsal like?

"Amazing. They literally sight read the first go and they all play it and you think – wow! OK, there’s a few squeaks and bumps but they’re playing this by sight! Second go through, it starts to sound like the real thing. And third time round, you start to hear the interpretation and the subtleties they bring to it and it’s magical – the strings that they laid on top of this space... I was just entranced!

"I get it now – why it is that people devote their lives to working in an orchestral environment. I’ve always known why I like it. But how it can sweep you up into its world… the penny dropped!"

Orchestral Suite – can you describe it?

"It’s a terrible cop out title. It’s ‘Suite’ because it’s nine movements and although there’s a huge amount of common linkage, it’s not got a standard symphonic form in terms of development. It develops in its own way. It covers a lot of ground, and it gets quite chaotic at times. It’s like making the movie I’ve always wanted to make, it really is."

What was it like writing new orchestral music as opposed to remixing tracks?

"Everything is new, everything is written. With a synthesiser, you can take a bass line and add things to it just by echoing and all the processing that we have – the studio is part of the creativity. Here you’re writing a melodic line, and then the next thing is another melodic line to support it and you’re weaving these lines. It’s fascinating. I have no experience at all. I’m discovering this for the first time. There is someone sitting there performing everything. And it all has to have a reason."

Pieces in a Modern Style. Was that the germ of the idea to work in a classical style?

"Yes, because I did get a glimpse into the mastery of the Masters. Certainly listening to the great works that have stood the test of time, and really, really listen to all its strands, you soon realise what you can do. You think: Wow! I wouldn’t want to do the same as that. But I don’t have to use the same chords. I know I can keep on trying stuff out."

It sounds like it’s been a huge musical adventure..

"Totally. It’s a total adventure. I’m still buzzing on it. I locked myself into a room for ten months really. When I stop at six in the morning and think I’d better stop because I’m going cross-eyed staring at this page of notes.. I just want to know more. It’s endlessly fascinating."

Manchester has a long tradition in music and creativity. Is that something you’ve been aware of?

"Big time. When I first became aware of Manchester was when A Certain Ratio were around. I was living in squat in London and it seemed it was all going on in Manchester. For me it wasn’t really punk, it was more like Joy Division who I was really into and that scene. It seems that an awful lot of comes out of Manchester and it’s just one of those hot spots. Like why Jamaica? why Manchester? There are certain places like magnets which draw creativity. And I would love to know why!"

Finally, do you think you’ll ever return to pop and electronica?

"Oh yes. I can be sitting in the studio all night absolutely locked into the orchestral world and then I’ll log on to the internet and somebody’s track comes up and I’ll be thinking: yeah, but I still love a good bass line!!"