Orbital’s “best of” album is supposed to sum this hugely influential electronic band (arguably the second greatest ever, behind their idols Kraftwerk) Orbital deserve a double CD comparable to Pink Floyd’s “Echoes”. As for the music, it is difficult to argue with the tracks chosen, but too many are in edited form, and thus inferior to their album versions. A clear case in point is “Halcyon”, an all-time great that achieves moving emotion on the Brown album, but fails to satisfy in the seven inch form. “Impact USA” is also inferior to the version on the Brown album, whilst the “Spawn” version of the classic “Satan” is puzzlingly included. Making a best of Orbital album is sure to cause more than a few murmurs of discontent, but that does not detract from the fact that what is chosen is still pretty damn good.

“Customers who bought this item also bought - Orbital, Orbital and um Orbital again” This either demonstrates the importance of Orbital to their fans or, if one were a cynic, it could be argued it demonstrates their lack of musical variety. At one point I was that cynic. An unashamed rock fan that couldn’t see the musical integrity in any electronic music. Unless they collaborated with a rock band that is. But after a little mild indoctrination from a university flatmate and diehard Orbital fan, this soon became the soundtrack for a good few (few good) years of my life.

It is the ability of the brothers Hartnoll to evoke moods running the gamut from despair to euphoria, from satisfying to unnerving, that sets Orbital apart from other dance acts. In fact, it is a complete misnomer to refer to Orbital as “dance music”. The construction of the songs often has more in common with traditional rock music than dance music. And if you saw people in a club dancing to “The Box” - check the parking lot to see if there is a minibus from the local rhythmically challenged, paraplegics hospice.

Walking through an art gallery you encounter pictures that hit the senses in different ways. Some pictures assault your perception leaving you distinctly uneasy and haunted by the images for some time after. Some are truly uplifting masterpieces, every brushstroke laid down with perfection. And others…well lets just say - Rolf Harris’ Cartoon Time. This album of unreleased tracks, album tracks and alternative mixes spanning 20 years is much the same. In “The Box” Orbital have painted one of the most disturbing, unsettling soundscapes you are ever likely to hear. Listening to it whilst watching the accompanying video is like finding out what your dodgy Uncle Bobs deep, dark secret was and why he had to go away for so long. Only this is far deeper and darker than Uncle Bob ever went. At the other end of the spectrum is “Belfast“. Euphoric and uplifting, it is quite simply a masterpiece. And why include the version of “Satan” with Kirk Hammett? The original is so much better and remember, I’m a rock fan so it must be true.

This is one of the few dance acts capable of creating genuine soundscapes that hit you, be it in the heart, the mind or the gut. Orbital will never mean the same to me as the likes of Faith No More or Tool, who they sampled in the track Tootled but this collection contains many of the tracks that became such an integral part of my life whilst at University. Ah, happy days.

If, like some of the initial reviewers, I would’ve based my review on my first listen then my award perhaps have been only two or three stars. I’ve been a fan of the brothers for many years now and there have been many times when I’ve heard some of their new tracks and been amazingly under-whelmed thinking “what have they done?!” But that’s just it; it’s what *they’ve done*! It may seem a very abrasive album, not as accessible as their previous works, but give this album a few spins and it’ll hook you. Yet again the Hartnol brothers have created a sleeper album, another classic that’ll pass the general record-buying public, but reward those with perseverance with a varied and unashamedly experimental sound.

‘Tension’ launches straight into a wicked breakbeat mesh - harsh beats but full of rhythm.

‘Funny Break [One's Enough]‘ couldn’t be more of a contrast. From the energy-release of the preceding track to another trademark emotive set of melodies. Classic Orbital.

‘Oi!’ is yet another change of gear, moving into Ian Dury-sampling funk. It reminds me of elements of their album ‘Snivilisation’ yet at the same time it’s something completely fresh.

‘Pay Per View’ is one of my favourite tracks from the album, very dark and haunting. What becomes clear by this part of the album is that there isn’t really a common ‘theme’ as such to this album, unlike ‘In Sides’ (my personal favourite). They’re rather like different snapshots.

‘Tootled’ is, as one of my friends described, “a total rock-chick of a track”. It’s an average Orbital track, it feels somewhat restrained, perhaps is the poor relation to ‘Tension’ only the breakdowns towards at the end give it a notable Hartnol edge.

‘Last Thing’ contrasts yet again; squelching acid breakbeats tinged with a somewhat eastern flavour.

‘Doctor?’ is set to become a classic. Orbital have produced a stunning re-working of the classic BBC theme. It’s a homage that manages to stay true to the original theme yet becomes something that’s perfectly danceable.

‘Shadows’ is my other slight disappointment on the album. It’s another dark and atmospheric track, but one whose shuffling melody and vocals just don’t seem to take off with the usual magic. Intriguing Tom Baker sampling though.

‘Waving Not Drowning’ kicks off the closing triumvirate of more, as the cliché goes, ‘classic Orbital’. This track is another of my favourites, something completely new and very endearing. Definitely one for midnight driving.

Some of the response to the David Gray collaboration ‘Illuminate’ however has really surprised me. This track is another highlight on the album. Some accuse the Hartnoll’s of selling out with this comparatively assessable ‘mainstream’ track - but those who know their Orbital will know that David Gray has been a close friend and relation of the band for some time. It’d be the perfect choice for a single, in my opinion. Gray’s voice may be grating to some, but I find it accompanies the melancholic track perfectly - the result a very rare and moving full-vocal Orbital track.

Unlike the other varied and short tracks the closure of the album ‘Meltdown’ is a return to Orbital’s perhaps more natural ‘long play’ territory clocking in at over ten minutes. A very deep and dark that’s as epic as the tracks which closed ‘In Sides’ and ‘The Middle of Nowhere’.

I will admit that this release has disappointed me slightly, but to maintain such quality throughout six albums is a remarkable feat. It will disappoint some, but stick with it for a few listens are you are rewarded with something that’s very fresh, but still with that trademark sound. It’s a perfect tonic to the stifling, moronic ‘pop’ and so-called ‘alternative’ (yet cloned) pap that pollutes the commercial airwaves these days.