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Okie Dokie It's The Orb On Kompakt

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Album Review

Absurd title aside, Okie Dokie marks the Orb's absolute absorption into Cologne's Kompakt label, following a series of 12" releases and compilation appearances dating back to late 2002. The principal factor is Thomas Fehlmann, a longtime associate and Kompakt elder statesman whose presence is felt on every track, consequently inhibiting Alex Paterson's whimsical impulses. There are no incongruous vocal appearances, silly spoken bits, or lumbering dubwise squibs. All the unnerving flights of fancy and widespread deficiencies that made Cydonia and Bicycles & Tricycles the slightest Orb albums have been washed away, exchanged for a stern focus and a series of productions that are also consistent for their even level of quality. The Orb's assimilation into the label is such that the best cross references aren't their albums of the recent past, but Kompakt's Pop Ambient series, Fehlmann's own Visions of Blah, and Triola's Triola im Fünftonraum instead, all of which carry some of Paterson's DNA. The sequence here flows as well as that of the Triola album, with transitions so smooth that it would be easy to misjudge the dynamic range of rhythms and sounds. Half the tracks originate on 12" releases and Kompakt 100, but they're typically tweaked in some form and fit ideally into the album's scheme, so those who are familiar with the overlap shouldn't feel shortchanged. "Lunik TM" is the most drastic rework, featuring an effectively detached guest vocal from Schneider TM that appears over the original's ambient skank. "Cool Harbour" appeared on a single and Schaffelfieber 2, but its breezy grind is a welcome return, bridging "Beatitude"'s twinkling trudge to "Traumvogel"'s gorgeously graceful modern-day amalgam of Gas, Tangerine Dream, and Global Communication. Okie Dokie is a prime, stimulating example of what can happen when innovators find themselves inspired by younger producers who have been deeply influenced by their work.

Customer Reviews

Good Stuff!

This is Orb returning to its roots. The music is much more akin to UF Orb or other earlier works, though it lacks in the odd vocal samples and other weirdities that Alex P employed in those releases. And unlike Cydonia / Bicycles & Tricycles, the sound remains pretty consistently similar across the whole album. It sounds like an album and not just a collection of random tracks. Definitely a worthy addition to any Orb fan's collection. If you are new to the Orb, I would point you to Little Fluffy Clouds and the associated tracks. Or Blue Room -- always Blue Room.

Solid Orb Album

This album at times it reminds me of the Patterson/Fehlmann project FFWD, but with less trippy guitar and more rhythm. It also brings to mind the work of System 7 and Sun Electric. I wouldn't rate this as the Orb's best album, but it has some really nice tracks and a good overall vibe. If you like the more contemplative tracks on Orbus Terrarum and Pomme Fritz then you will surely enjoy this album.

Okie Dokie it's Thomas Felman on Kompakt

"Not even music" - Hilarious! The orb isn't for everyone, but fans who may have been dissapointed by their last few might feel the same about this one. With very few samples, It sounds exactly like Thomas Felmans latest work - repetitive heavy 4/4 loops without any quirky voice samples. Still pretty deace work though for the big fans.


Formed: 1989 in London, England

Genre: Electronic

Years Active: '80s, '90s, '00s, '10s

The Orb virtually invented the electronic genre known as ambient house, resurrecting slower, more soulful rhythms and providing a soundtrack for early morning ravers once the clubs closed their doors. The group popularized the genre as well by appearing on the British chart show Top of the Pops and hitting number one in the U.K. with the 1992 album U.F.Orb. Frontman Dr. Alex Paterson's formula was quite simple: he slowed down the rhythms of classic Chicago house and added synth work and effects inspired...
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