Orbital

As Orbital, brothers Paul and Phil Hartnoll gave the faceless electronic-dance-music scene of early-'90s Britain an indelible image: two wildly bobbing miner's helmets topped by twin flashlights (their standard stage headgear). The Hartnolls also differentiated themselves from most techno artists by crafting their albums as coherent statements and by showing an interest in melody and harmony as well as in the groove.

That Orbital's music is designed as much for listening as for dancing becomes clear on the very first track of its debut, Belfast, which slows down drastically from one section to another. Cool but never clinical, Orbital is electronica with a very human spirit. But it's just a warm-up for Orbital 2, a triumph of minimalist composition. The album blends subtle textures -- a tamboura drone, a darting flute line, a synth patch that sounds like dripping water -- to mesmerizing effect. Nominally an EP, the album-length Diversions compiles interesting but nonessential remixes and live recordings.

On Snivilisation, the Hartnolls add Alison Goldfrapp's winsome vocals to the mix; the clattering frame-drum beat of "Are We Here?" is one of many high points. In Sides lacks some of the duo's drama, but its final track, the burbling epic "Out There Somewhere?," compensates for the tedious moments. The Middle of Nowhere and The Altogether (which includes a nice cameo by David Gray on "Illuminate") up the rhythmic-aggression quotient while lowering the general complexity level. The discs are the closest Orbital has come to making standard-issue club fare and, as such, aren't bad, but considering the near-symphonic character of the previous four albums, it's hard not to feel that the brothers are slacking. Work 1989–2002 is a solid best-of, though newcomers are advised to start with Orbital 2. (MAC RANDALL)

From 2004's The New Rolling Stone Album Guide