![]() ![]() Be careful of your delicate sensibilities. People can persuade artists to do things which make the artist later look back and think, “I should’ve never done that.” Artistic frustration is very corrosive. Don’t try to do things that you’re not good at or don’t like. Find out what you’re really good at and work your bollocks off at it. You have to be aware that second time around, third time around, it’s much harder to come back. I remember the first time around, everything was so easy. Nobody realizes the very factor of youth is so alluring. They’re able to get their stuff across as they want it without intermediaries. Logic, Ableton, ProTools, it doesn’t matter. They felt totally locked down because it’s this sort of passive-aggressive thing of the guy doing all the enabling of the sounds: “I’m singing and this guy is the one that’s manifesting on tape.” Now you don’t need anybody to get your ideas down. I can remember working with singers, and how they were frustrated because they had to do everything through guys. What are your thoughts on the pop charts being filled with women? I don’t know if you could get away with doing that now. We were tucked away in a studio in Burbank, and that was it. It was it was extraordinary because “Ray of Light” was a very intimate album. She had very rigorous training with Andrew Lloyd Webber. She had done “Evita,” which had toned up her voice. How does that contrast with your time with Madonna creating “Ray of Light,” which gave her so much credibility and brought her to a new level of respect, particularly at that point in her career, when her time as a pop star could have run out. We are autonomous in that respect, but it is collaborative. Any other art form, apart from writing, you need to get finances together. But musicians can make an album for less than £300. Splice that into an uber-song, and there would be quite a few names on it. ![]() Your third favorite would be the verse or the middle eight, the second favorite would be the verse and your favorite would be the chorus. You’d get 10 songs from a team and you would take your favorite three. In the late ‘60s, early ‘70s, singer/songwriters became the thing: Joan Baez, Joni Mitchell. Forget 18 writers I’d rather go to a room with 18 speakers and Dolby Atmos.īut, at the same time, you are a very collaborative person. It would put me off music to the point where I couldn’t even look into my studio without feeling sick. Have you had any experiences in sessions with groups of songwriters in a room working on pop songs? I bless that now because everything I’ve done doesn’t have a date stamp. I start doing different things and veer off the plot. It’s not like I’m willfully not doing it, I just failed on the first day. On occasion, I’ve set out to try and sound like a particular sound of a particular period, but I can’t do it. How have the changes in the musical landscape over the last 25 years had an effect on you as a producer? It’s part of the job of being a professional artist, rather than a producer in the background. It’s been so long since I‘ve been an artist with a record to put out, I have no idea. Three months ago, when I realized my projects were done, I thought, “Great, I just have to put it on internet and everybody will come.” But it’s so bloody complicated. We all love that scream when the bass drops, but when it comes to talking about intrinsic music, we’re stumped.Īs you are getting ready to release your EP, how are you finding the current terrain as a musical artist? Musicians, generally speaking, find it very hard to elucidate what we’ve done musically. It’s all happened at the same time, but it turned out all right - I’m still here. Change stuff for the better and stick with the new thing. I’m quite old, 65, but it’s never too late to have a pivot in your life. My mind state was not in a good space during the pandemic. For years, I have completely disappeared, not done anything sociable, and come back the other side.ĭid the pandemic have an impact on the creation of your “Starbeam” EP? There’s a huge amount of serendipity in what you do, but you have to curate it. Was the pandemic a time of rest and recharge for you as it has been for many creatives? This is Orbit’s first artist output in seven years, and he is more than ready to speak about it, and many other aspects of music and the industry, with Variety. The EP was preceded by the single, “Starbeam,” released Nov. He has since abandoned his paintbrush and returned to the recording studio to put himself at the forefront of a four-track EP, the just-released “Starbeam,” mastered in Dolby Atmos and released on the well-respected independent dance label, Anjunadeep.
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