Hey, Mom! The Explanation.

Here's the permanent dedicated link to my first Hey, Mom! post and the explanation of the feature it contains.

Also,

Showing posts with label milestones. Show all posts
Showing posts with label milestones. Show all posts

Tuesday, September 22, 2026

A Sense of Doubt blog post #4236 -"The Slaughter it Sickens me" -- THAT ONE THING



A Sense of Doubt blog post #4236 -"The Slaughter it Sickens me" -- THAT ONE THING

MILESTONE = day 4100 since Mom died.

Just this.

Almost caught up on my blog posts.

This one seems relevant to international news.

Thanks for tuning in.

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- Bloggery committed by chris tower - 2609.22 - 10:10

- Days ago: MOM = 4100 days ago & DAD = 754 days ago

- New note - On 1807.06, I ceased daily transmission of my Hey Mom feature after three years of daily conversations. I post Hey Mom blog entries on special occasions. I post the days since ("Days Ago") count on my blog each day, and now I have a second count for Days since my Dad died on August 28, 2024. I am now in the same time zone as Google! So, when I post at 10:10 a.m. PDT to coincide with the time of Mom's death, I am now actually posting late, so it's really 1:10 p.m. EDT. But I will continue to use the time stamp of 10:10 a.m. to remember the time of her death and sometimes 13:40 EDT for the time of Dad's death. The blog entry numbering in the title has changed to reflect total Sense of Doubt posts since I began the blog on 0705.04, which include Hey Mom posts, Daily Bowie posts, and Sense of Doubt posts. Hey Mom posts will still be numbered sequentially. New Hey Mom posts will use the same format as all the other Hey Mom posts; all other posts will feature this format seen here.

Saturday, August 29, 2026

A Sense of Doubt blog post #4212 - SoD Reprint from 2025 (3692) - The Orphaned Adult

Me and Dad 1708.29 home at 1785 Blacktail Lane

A Sense of Doubt blog post #4212 - SoD Reprint from 2025 (3692) - The Orphaned Adult

Several things to share before the reprint.

1. I am starting a run of a week of reprints in honor of my father who died two years ago as of yesterday.

2. Today is nine years exactly since that picture above was taken the day we arrived in my new home after driving across country. 


3. This book, The Orphaned Adult, has become very important to me in counseling people who have lost their parents and grief counseling in general.

4. The post I am reprinting was published on the 28th of the month, same day Dad died.

5. POWER WASHING WENT GREAT and I channeled Dad to solve various problems even though I was tempted to get help.

BEFORE




AFTER




6. That picture up top is my favorite of me and my dad in the years after my Mom died.

7. I am doing well. I process all this grief and loss so I am not blind sided by unresolved feelings at these key times. I am fine.


Thanks for tuning in!



Link to the original post I am reprinting below:

Friday, March 28, 2025

Me and Dad Tigers Opening Day April 2016

Today is also the first official and domestic day of Baseball season, which is one of the things that brings me the most joy and comfort in my life. Welcome back Baseball. Thanks Dad for introducing me to Baseball.

A Sense of Doubt blog post #3692 - SEVEN Months and The Orphaned Adult By Alexander Levy

Am I going to commemorate each month passed since Dad died and each significant number (hundreds, fifties)?

For at least this first year, yes, almost certainly.


Here's what I have done so far:

After a single month, I posted many items around September 28th for what I posted past years on August 28th, but on September  28th itself, I had to post this:

Saturday, September 28, 2024

Not specifically about the one month since Dad died, but Dad would appreciate the post. After all, I had the Cubs game on my phone in his final hours. Baseball comforts me.

The next two months, though, I did directly acknowledge Dad's death anniversary with the November one falling on Thanksgiving.

Monday, October 28, 2024

Thursday, November 28, 2024

But in December, I just posted this fun post, though the next two, especially January, acknowledge Dad as well as the 180 and 200 days posts.

Saturday, December 28, 2024

Tuesday, January 28, 2025

Friday, February 28, 2025

It seems to me that as the months have passed the incredulity I experience in reflecting on my Dad being GONE compels me to write about it and publish those thoughts on the month anniversary and some of the other numbers that feel significant.

I chose to wait and write this post the day AFTER the twenty-eighth, in part to digest my feelings, but also to do some things just for me on the day. Though I had two appointments, one being at the dentist, I had lunch at Thai Orchid, which is the first place I ate when I moved here and I ate there with my Dad, Liesel, and the kids. I ordered the same thing I had then, eight years ago (another eight!!). I read poetry and made some notes for poems. It felt good to do that.

Today, in my Forgotten English page-a-day calendar, the word is "apologue," which is a moral fable that uses a fiction to convey useful truths, such as by Aesop. The word originates in Greek with apologos, which means "fable."

The calendar also shares stories or some historical fact that may or may not be related to day's word (see below).



The story of King Tantalus struck a chord.

I feel tantalized by a thing I cannot have: my parents.

I lived for 62 years with parents in my life, and for 53 years with both of them.

And now, they are gone. 

And yet, they linger, like that water or that ripe, low-hanging fruit teasing Tantalus but forever unattainable.

In my last therapy appointment, I talked with my therapist about having a difficult time accepting the death of my parents, especially my Dad's death.

I can't remember exactly what he asked me, but I think it was something like "what would accepting it look like for you?"

I talked about how the culture at large expects grieving people to "get over it" and to "move on."

No one wants to hear about someone's grief after a few weeks have passed. Few ask about it, especially when someone is grieving an elderly parent, someone whose time it was to shuffle off the mortal coil.

It seems to me that these things are what "acceptance" is, but I don't think I will EVER "get over it," and what is "moving on" anyway? 

In grieving my Mom's death, I wrote HEY MOM for three years every day, but the majority of those posts were not about grief at all; they were about life, living, my life, my living.

Likewise, a month to the day after Dad died I posted about the Detroit Tigers and did not mention my Dad at all. Granted, all around that post were the reprints of past August 28th posts that were all acknowledging how the 28th, especially August 28th, was a significant date that I would never see the same way ever again.

I announced Dad's death on the 28th of August and then went into reprint mode of posts with old family photos and other relevant content. I finally came out of reprint mode September 10th with a round up of the DNC, which happened before Dad died and that I cried all the way through. I posted his obituary, finally, on September 13th, but I was getting back to normal with a mix of posts directly related to Dad and his death, like this one (a favorite):



Oh wow... scrolling through that post I just came across this picture.

Dad was wearing that shirt above when he died, very close to seven years later (and this post is about seven months -- more number connections). This picture above was taken August 24, 2017. The 24th...  8/24... more eights!!

My point being that after a month, I was no longer posting all the time about my Dad dying. The posts about my life and interests far out number those related to Dad's death.

And now, seven months later, that's definitely true. I did just write 200th day since he died, which was twelve days ago, and before that I acknowledged 180 days since. But generally, posts are what the blog posts have always been about: music, comics, science, writing, poetry, politics (state of the hate nation), teaching, and so on.

Since my therapy appointment two weeks ago, I started reading a book called The Orphaned Adult by Alexander Levy.

I plan to take this book to my next appointment on Monday.

Circling back to this idea of "getting over it" or "moving on," I watched my mother NEVER get over the death of her mother from before I was born. She still cried about it even a few years before her own death. She cried more after the meningitis, as that experience, the coma, the paralysis, made all of us so much more emotional, especially her.

But she never got over her Mom's death.

Or her brother Wilbur.

She seemed less traumatized by her father's death, but she did grieve him.

I don't think my Dad really "got over" the death of his parents either.

In  The Orphaned Adult, on page 38, Alexander Levy makes clear that the grieving DO NOT NEED TO GET OVER IT (the deaths of parents). "Grief is something you get through, and if you let it get through you as well, you will eventually find that you have room in yourself to contain it" (Levy, 38).

I really liked this quote as it turned over my own thinking and feeling about grief, kind of like I had been living in upside down world, and now I can at least see into if not live in right-side up world.

I understood that grief is something we "get through," but I had never conceived of it as something that we let "get through us."

What does that mean? How do I let grief get through me? Does that mean it exits? Or is it more like channeling?

Because what I learned from losing my Mom is that grief feels more like a feedback loop, much like our own annual seasons. There are fallow times. There's hibernation. And then there's awakening and new growth, a flare up, over-growth, until the next time of fallow fields and cave hibernations.

Levy goes on to write that "when you come out the other side of this terrible time, without needing to understand how it happened any more than you need to understand how you digest food and distribute nutrients throughout your body in order to be well fed, you will find that you are able to face, and conduct, your life in a new way" (Levy, 38). 

I already feel like I am facing and conducting my life in a new way, and in a way that is growing and evolving. I am not sure how to explain this new way as it's more of a feeling, an intuition, than something that is definable. I am not even sure what it is or how it works yet.

But I am also still in the feedback loop. I am still experiencing anger at my Dad for dying. I am still experiencing disbelief that he's gone. I think I have passed through the disbelief that my mother is gone when I think of her alone, but when I consider her with Dad, the fact that I am an orphan, I feel a strong urge to dismiss the reality of the situation, as I told my therapist, like a child stamping his feet and raging against the way things are, the way he does not wish them to be.

I have been depressed and have been trying to fight that with self-care.

I have been bargaining, weighing myself down with recriminations and regrets: had I only done more, had I flown sooner to Michigan, had Dad not contracted Covid, etc. etc.

I miss my parents every day.

I think about them every day.

Levy says that there will be a time when I do not think about them every day, or at least do not feel the grief every day. I did experience that with my Mom.

Part of what keeps me thinking of them is our new scrolling photo frame that keeps showing me pictures of them even when I am not looking at shelves where I have other, non-digital ones.

I have more to process about this grief and this book in particular in future posts. Stay tuned.

This is a good chunk for today.

Thanks for tuning in.


Reference

Levy, Alexander. The Orphaned Adult: Understanding And Coping With Grief And Change After The Death Of Our Parents. Hachette Books. Kindle Edition. Balance Pub. 2000. ISBN: 978-0738203614

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- Bloggery committed by chris tower - 2503.28 - 13:40
(PUBLISHED today at 13:40 for Dad)
- Days ago: MOM = 3557 days ago & DAD = 212 days ago
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- Bloggery committed by chris tower - 2608.29 - 13:40

- Days ago: MOM = 4076 days ago & DAD = 730 days ago

- New note - On 1807.06, I ceased daily transmission of my Hey Mom feature after three years of daily conversations. I post Hey Mom blog entries on special occasions. I post the days since ("Days Ago") count on my blog each day, and now I have a second count for Days since my Dad died on August 28, 2024. I am now in the same time zone as Google! So, when I post at 10:10 a.m. PDT to coincide with the time of Mom's death, I am now actually posting late, so it's really 1:10 p.m. EDT. But I will continue to use the time stamp of 10:10 a.m. to remember the time of her death and sometimes 13:40 EDT for the time of Dad's death. The blog entry numbering in the title has changed to reflect total Sense of Doubt posts since I began the blog on 0705.04, which include Hey Mom posts, Daily Bowie posts, and Sense of Doubt posts. Hey Mom posts will still be numbered sequentially. New Hey Mom posts will use the same format as all the other Hey Mom posts; all other posts will feature this format seen here.

Friday, August 28, 2026

A Sense of Doubt blog post #4211 - TWO YEARS AGO - Obituary of Bob Tower - Born June 26, 1935, Died August 28, 2024 at 13:40 Michigan time



A Sense of Doubt blog post #4211 - TWO YEARS AGO - Obituary of Bob Tower - Born June 26, 1935, Died August 28, 2024 at 13:40 Michigan time

My father, Robert B Tower, died two years ago today, August 28th, at 13:40 Eastern time, even though I am publishing this post at 13:40 Pacific time.

I was there with him when he took his last breath.

As I wrote yesterday, today I am honoring his life doing something he would appreciate: pressure washing patios and decks.

I went hunting for new pictures that I have not posted. The photo above is from an envelope full of flawed photos with the left side blacked out, almost foreshadowing that Mom would die first.

It's so rare to see my Dad smile in photos, especially when he was younger. I got after him about that which is why I have so many of him smiling when he's older.

This is a good smiling Robert photo. It's from April of 1974. I was a very awkward twelve year old.

I found this candid photo (below). What is with my sister's facial expression? :-)

I have not closed the tab in my browser containing Dad's obituary in two years. I am reprinting and a post I made about it below.

That is all.

Thanks for tuning in.




Friday, September 13, 2024


1973 - Mackinac, Grand Hotel


A Sense of Doubt blog post #3496 - Obituary of Robert Tower - June 26, 1935 - August 28, 2024

I realized I had not yet published Dad's obituary. I have not read it, either.

To be fair, I read it years ago when he wrote it and he sought some editing advice from me. I did not give him a tough edit.

I wanted to find a good picture of my Dad from the 1960s or 1970s. I wish I had more pictures of him from that time period. Since he took all the pictures, he's not in very many of them.

I like this one above. I am not sure if Lori and I were at the Grand Hotel with them on this trip.

Maybe. Depends on when Nixon resigned. I remember we stayed in the presidential suite, which that is, quite clearly, right after the president, and I want to say that president was Gerald Ford. Nixon resigned on August 8th, so conceivably this picture is after that.

However, I remember being into magic on that trip, and I do not believe I was quite into magic yet at 11 years old. Maybe. I remember seeing Robert Downey (not to be confused with the actor) on that trip.


I am not sure if I knew that he died in 1980.

I think it's more likely that the picture above is from a time when Mom and Dad went without us and we all went together in 1974 and/or 1975.

The picture with the obit is from TASTE OF KALAMAZOO, and I took that picture. It's one of my favorites.

I still can't believe he's gone. I want to talk to him about the picture above, about Bob Downey, about our trips to Mackinac.

Regardless, we were (or they were) at Mackinac for Michigan Society of Architects.

I am and always have been so proud to be the son of Bob Tower.

Miss you, Dad.


UPDATE - 2409.14 - 11:07

I just realized that I am now in possession of my Dad's little black books in which he recorded nearly everything.

We were in Mackinac in late August of 1973.

But I think we were there again in other years and for longer. This is not the year when I met Bob Downey (as far as I can tell).

Here's the relevant pages:







COUNTDOWN!!!



https://www.legacy.com/us/obituaries/kalamazoo/name/robert-tower-obituary?pid=207694616


Robert Tower Obituary

Tower, Robert Burns
Kalamazoo
ROBERT B. TOWER, AIAE, NCARB - June 26, 1935 - August 28, 2024
Robert Burns Tower II passed away peacefully at Friendship Village and joined his wife in Heaven with his Lord and Savior Jesus Christ. He was born prematurely in Whitefish, Montana in a log cabin. He was the son of Hellen Doris (Lauman) Tower and Walter Burns Tower. He was named after his grandfather, Robert Burns Tower as well as the famous Scottish poet, Robert Burns. His family moved to Michigan, and he attended secondary schools in Midland, Michigan. Tower attended the University of Michigan, and earned his Architecture degree in 1960. He served his country in the US Army and National Guards of Michigan. He was a registered Architect, with licenses in Michigan, Indiana, Illinois and Ohio. He received a national Architecture Registration (NCARB). Tower was also certified as a Peer Reviewer for the American Institute of Architects. He traveled to many parts of the US and Canada to consult with other Architectural or Engineering firms offering his expertise in management transition. With over forty years of experience in the field of Architecture, Tower was the retired Chairman Emeritus of Tower Pinkster Titus Associates, Inc (TowerPinkster). During his years with the firm, Tower practiced Architecture and served as the leader of its staff. The firm had offices in Kalamazoo, Battle Creek, Detroit and Grand Rapids during his leadership. His expertise in Healthcare Facility design and Healthcare Construction Codes made the firm greatly sought after for his reputation for design skills in highly technical buildings. Tower's involvement in community activities throughout the state gave him the opportunity to gain insights in many aspects of public, non-profit and private enterprise. He served on the Boards of Directors of many organizations and was highly respected for his leadership and energetic support of the organizations he served. During many years of community service Tower was involved in countless fundraising efforts, developed public policy, provided leadership in the reorganization of a number of non-profit organizations, and attained a wealth of knowledge in organizational planning. Tower was a highly organized taskmaster who was respected by his peers for his ability to lead groups of people with diplomacy, thoughtful mentorship, and a respect for other people's abilities and ideas. His expertise as a fundraiser was the hallmark of his community service, and he was greatly sought after to participate in such activities because of his success at attaining the goals of any campaign he was involved with. His noteworthy campaigns were the successful efforts for the Kalamazoo Nature Center, Binder Park Zoo, DRUGS DON'T WORK, the Kal-Haven Trail and the Rotary Stage in Bronson Park. Tower designed many buildings during the length of his career with his firm as well as many architectural commissions he completed in his own private practice during retirement. He was the Architect of Record for Bronson Methodist Hospital in Kalamazoo for over twenty years, and was the designer for many of the additions to the health facility as it expanded during the later years of the twentieth century. He was also the Architect for many other healthcare facilities throughout the state of Michigan and Illinois. Tower's personal delight was the many beautiful custom homes he designed for clients that sought his expertise. Most of his residential projects are in Southwest Michigan. Tower also designed many fine homes in his hometown of Midland, Michigan. Robert Tower's wife, Marjorie Ellen (Delbridge) Tower passed away July 4, 2015. He is survived by his daughter, Lori M. (Noel) Beard; his son, Christopher B. (Liesel) Tower; and grandchildren, Piper and Ivan Simons. The family will receive friends at a

visitation at First Presbyterian Church in Richland, Michigan from 6pm to 8pm on Thursday, September 5, 2024 in the Grand Prairie room which Tower designed. A memorial service will be held the following day, September 6, 2024 at First Presbyterian Church at 5pm. Gifts in lieu of flowers can be directed to the Kalamazoo Nature Center, Binder Park Zoo, or Gilmore Keyboard Foundation.



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- Bloggery committed by chris tower - 2409.13 - 10;:10
- Days ago: MOM = 3360 days ago & DAD = 016 days ago
- New note - On 1807.06, I ceased daily transmission of my Hey Mom feature after three years of daily conversations. I plan to continue Hey Mom posts at least twice per week but will continue to post the days since ("Days Ago") count on my blog each day. The blog entry numbering in the title has changed to reflect total Sense of Doubt posts since I began the blog on 0705.04, which include Hey Mom posts, Daily Bowie posts, and Sense of Doubt posts. Hey Mom posts will still be numbered sequentially. New Hey Mom posts will use the same format as all the other Hey Mom posts; all other posts will feature this format seen here.
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- Bloggery committed by chris tower - 2608.28 - 13:40

- Days ago: MOM = 4075 days ago & DAD = 729 days ago

- New note - On 1807.06, I ceased daily transmission of my Hey Mom feature after three years of daily conversations. I post Hey Mom blog entries on special occasions. I post the days since ("Days Ago") count on my blog each day, and now I have a second count for Days since my Dad died on August 28, 2024. I am now in the same time zone as Google! So, when I post at 10:10 a.m. PDT to coincide with the time of Mom's death, I am now actually posting late, so it's really 1:10 p.m. EDT. But I will continue to use the time stamp of 10:10 a.m. to remember the time of her death and sometimes 13:40 EDT for the time of Dad's death. The blog entry numbering in the title has changed to reflect total Sense of Doubt posts since I began the blog on 0705.04, which include Hey Mom posts, Daily Bowie posts, and Sense of Doubt posts. Hey Mom posts will still be numbered sequentially. New Hey Mom posts will use the same format as all the other Hey Mom posts; all other posts will feature this format seen here.

Thursday, August 27, 2026

A Sense of Doubt blog post #4210 - Letter to Dad #50: Pressure Washing with Dad in Honor of his Passing Two Years Ago


A Sense of Doubt blog post #4210 - Letter to Dad #50: Pressure Washing with Dad in Honor of his Passing Two Years Ago

Hi Big Guy, 

It is fitting that on the day before the second year since you died, my letters to you feature hits fifty.
No more significance to this number other than it's a special number enroute to one hundred, so it is notable.

Also, BTW, I am publishing this and the next six posts  (seven in all) at 13:40 instead of 10:10. The time of your death, Dad.

Even more fitting is what I will do tomorrow on the second year since your death that I am going to pressure wash patio, drive ways, deck, and porch. So, in that spirit, I am reprinting here when we pressure washed together before staining the deck at St. Antoine in Kalamazoo a color that was not approved, so we had to re-do it!

Before that reprint, not much to report. Back to teaching creative writing, which I have not taught for five years, and of course the whole course is changed.

Making time for my own writing at a pretty solid clip, so I am proud of that.

Start my Practicum (not internship yet but essentially the same thing) on Monday. 

Things are going well.

I miss you and love you, Dad.
~ christopher

Link to the original post I am reprinting below:

Tuesday, June 28, 2016

Hey, Mom! Talking to My Mother #357 - Work days with the Big Guy

Hi Mom, This one's mostly pictures. There's been lots of work around here lately with the Big Guy, my Dad, you know, Robert "Bob" Tower, your husband.

In the photo above, I had to insist that Dad smiled. It's a good smile.

This photo gallery charts our power washing of the deck and then staining the deck.

Liesel does not like the stain color (see sample pick of the color swatch below). But the staining of the deck is more about preserving the wood than looks. We needed solid stain. She wanted grey. We miscommunicated.

AND we will need to power wash again later this summer or early in the fall. We skipped a section of the house because we were running out of time and energy.

As you know, Mom, Dad and I have always done these work days. They used to be in support of our home, ours together as a family. But now, mostly, they are in support of my home with Liesel and the kids.

Dad told me that  a year ago he would not have been able to do all this work. He's doing yoga, and it's really helped him.

Also, he was taking care of you, and in your last two years, it was not as easy for us to bring you along and stash you in front of a TV or for a nap on the a couch.

I know these pictures would be interesting to you, Mom; you would look at them all, nodding and smiling. But my other readers may not find much of interest here. Still, I like our work and the before-after progression of the deck staining. I have also added my Instagram/Twitter/Facebook posts and captions. "SO MUCH DIRT!!!"

These times with my Dad are precious. I would not trade them for anything in the world.








































Satchel: "I want to come outside, please."
Me: "No, you are already covered with stain."

Satchel, thinking: "How could I get outside without his help."
Me: "Satchel, don't even think you're getting outside until the stain dries."



ALL DONE!! Four days later, the deck looks great, if you like cape grey as a color that is.






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Reflect and connect.

Have someone give you a kiss, and tell you that I love you.

I miss you so very much, Mom.

Talk to you tomorrow, Mom.

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- Days ago = 359 days ago

- Bloggery committed by chris tower - 1606.28 - 10:10

NOTE on time: When I post late, I had been posting at 7:10 a.m. because Google is on Pacific Time, and so this is really 10:10 EDT. However, it still shows up on the blog in Pacific time. So, I am going to start posting at 10:10 a.m. Pacific time, intending this to be 10:10 Eastern time. I know this only matters to me, and to you, Mom. But I am not going back and changing all the 7:10 a.m. times. But I will run this note for a while. Mom, you know that I am posting at 10:10 a.m. often because this is the time of your death.





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- Bloggery committed by chris tower - 2608.27 - 13:40

- Days ago: MOM = 4074 days ago & DAD = 729 days ago

- New note - On 1807.06, I ceased daily transmission of my Hey Mom feature after three years of daily conversations. I post Hey Mom blog entries on special occasions. I post the days since ("Days Ago") count on my blog each day, and now I have a second count for Days since my Dad died on August 28, 2024. I am now in the same time zone as Google! So, when I post at 10:10 a.m. PDT to coincide with the time of Mom's death, I am now actually posting late, so it's really 1:10 p.m. EDT. But I will continue to use the time stamp of 10:10 a.m. to remember the time of her death and sometimes 13:40 EDT for the time of Dad's death. The blog entry numbering in the title has changed to reflect total Sense of Doubt posts since I began the blog on 0705.04, which include Hey Mom posts, Daily Bowie posts, and Sense of Doubt posts. Hey Mom posts will still be numbered sequentially. New Hey Mom posts will use the same format as all the other Hey Mom posts; all other posts will feature this format seen here.

Monday, August 17, 2026

A Sense of Doubt blog post #4200 - William Orbit RIP: 1956-2026 - Music Monday for 2608.17



A Sense of Doubt blog post #4200 - William Orbit RIP: 1956-2026 - Music Monday for 2608.17

Before I start the topic at hand, here is a milestone. Post #4200. That's significant. I am now past the eleven year mark of DAILY posts with some extras during that time and before the start of it that increase the total beyond the number of days from July 6th 2015 to now (which would be 4062 days, so 138 extra posts). Just worth noting this milestone. I tend to mark these events every 100.

News like this will often derail my plans. I postponed a new mix to share this very sad news that popped up in my feeds last Friday the 7th.

I am a huge fan of William Orbit with Hello Waveforms as one of my top fifty favorite albums as shown here:

Wednesday, June 26, 2013

I am devastated to hear of Orbit's death, especially when just back in February, I discovered his first album in eight years that he put out four years ago!!

I share here my TWO William Orbit posts and a tribute by Post-Punk Monk that focuses on his work with obscure 1980s band Torch Song that I have never heard of or heard.

Before all that, some mixes of Orbit music.

ADDED 2608.21: Beth Orton just shared her thoughts on William, so I am adding them before the Post-Punk Monk tribute.

DISCLAIMER: I fixed the broken video link to Hello Waveforms in the original 2021 post and here, but don't be surprised if it's already been taken down, as it often is, when you look. If you're a reader and discover that missing video pod, leave me a message.

Many of Orbits solo/collaborative works are called Strange Cargo, here's a sampler.



And here's a playlist collecting the albums of his posted to You Tube, which at this time includes the elusive Hello Waveforms, which my Amazon Echo cannot play given that it is unavailable on Amazon Music.




Thanks for tuning in.




William altered the course of my life. I was out there making sense of the world at the ripe old age of 19 and then he and I met and the trajectory took a radical shift. Twice in the last year I’ve sort of accidentally on purpose found myself taking a detour and walking up the street where Guerilla Studios used to be. So nondescript is the row of terraced houses where his studio was located that I wasn’t sure which one it was. I stood outside trying to explain to my kids what was behind those walls 35 years ago. The feeling of that place still lives vividly in me, I felt sure it must be in there pulsating and kicking off at all hours if only I could peel back the bricks and open the walls and show them what it felt like to step inside. It was the glowing of the mixing desk that first hit me, twinkling like Christmas every night of the year. I wanted to walk them into the warmth and wonder of it all. I wanted to walk back in time as well. I didn’t know just a few weeks ago how soon the floodgates would indeed open and leave me gasping on a tide of memories and reflections of William and our time together.


In the weeks since I was walking down that street, the doors have flown off their hinges and the walls have come down. But it’s been with the shocking news of William dying that I’ve felt the closest to the reality of those times, what was hazy has returned in acute detail, what has been returned to me is a sense of William and more surprisingly a sense of myself and maybe it was that lost self I was also trying to retrace as much as anything staring into the blankness of those unblinking buildings.

The first time I crossed the line between suburbia and wonderland, Madonna’s

“Justify My Love” was belting full blast out of the speakers, it was 1989 and William was in the midst of remixing, cutting between classics by Madonna, Prince’s The Future and Seal’s Crazy. I was gob smacked to hear these tracks broken down to the sum of their parts. William was like some kind of crazed mechanic, his head under the hood of the mixing desk, taking the engine out of one iconic song after another and looking at what was in his hands with the excitement of a kid dissecting something. He could be cavalier in his approach to remixing because if he gave it too much thought he would pack it in, he found working to someone else’s schedule challenging. As with his production he was both meticulous and chaotic. Witnessing him work was mesmerizing, the attention to detail was maddening, he was a magician, he would take beloved elements away and bring them back later in an altered state, however subtle the change the evolution would slowly come to light and always turned out to be right. It was exhilarating to hear his process unfold over weeks and months and years.


He had a generous spirit, to paraphrase Laurie Meyer in her beautiful tribute to William at his funeral yesterday, he loved to enthuse and encourage out of others that which they didn’t yet see in themselves, he unquestioningly did that for me. He took me in in some ways, I was newly orphaned and winging it, very much alone in the world, my living situation was precarious at best and he became a buffer to me and what I might otherwise have struggled to navigate. We met when I was still flying high on grief, working as an actress in an experimental theatre company doing a play about Rimbaud and Verlaine. I wasn’t earning much and so he found ways to pay me some cash. While not considering myself a singer and with no desire to be one he would set up a mic with a ton of reverb on it and have me “oohh” and “ahh” on various things he was working on, he even roped me in to do background vocals on “Justify My Love” one night. We were going to the same clubs and had the same references; it was a hedonistic time and going back to his after a night out to sing something was part of the fun.

William loved the sociability of collaboration, he liked the solitude of his studio too, he could do alone but he wasn’t good at being lonely. He was a pacer, he loved distractions, he was a ball of nerves and feeling, he was an extremely sensitive human, a kind and thoughtful man who could equally lash out with intense flares of anger and frustration. He loved anyone with an inability to bullshit, my honesty was something that he encouraged with great mirth and enthusiasm. He trusted me and it was never easy to take that lightly. He had a deep longing to connect, was endlessly curious about people and was always asking questions, he loved to talk and really get to the heart of people, he loved a good laugh.


William encouraged the persona of boffin, he was intelligent was all, I think he would have been a teacher in another life if he wasn’t so uniquely brilliant at creating music and ambitious in every sense of the word. He didn’t feel he belonged, which was painful of course, so being the brainiac in the room was a way to make sense of himself within the world he was at odds with but loved – he was an electronic pop artist finding himself very much in demand. He lacked all confidence one minute and was on fire with focus and purpose the next. He was a living embodiment of his studio – built in suburbia and digging himself free (What is he building in there?!) Making a spaceship to explode though the roof and get him the fuck out – out of Orbit or into it - subverting his reality through his love of sound, the great silencer of the internal voice. More than anything he loved to play, he was and always will be a big kid in my fondest memories. For all the seriousness William was capable of there was something surprisingly and deliberately silly in his music.


Like the best dub producers, William had the ability to climb through the wires and make human electronic music. His is a homemade, handmade sound funneled through the unique trial and error of lived processes, fascinating and infectious at unexpected turns, he is a great reminder that however hard the machines of man try, they will never climb inside the mind and the soul and

the heart of the human experience and the complexities therein. It will always be those with a chaotic unregulatable system of working, an inability to walk a linear line, those who muddle through to get where they are going who we should take great care of in our world because they are the best of our

creative minds.

Over time William wanted me with him in the studio with him much of the time, he would make up a bed on the floor of his office above the studio so he could wake me up to listen to what he was working on through the night. He would make ambient mixtapes for me to fall asleep to (I have to see if I still have them somewhere.) He had the first copies of Nick Drake’s not yet re-issued records and made me tapes of them all to listen to. It was these tapes that led me to pick up the guitars in William’s studio, and whilst I was hanging around I learned to play them and start to write my own songs. I’d always wanted to be a magician’s assistant, and I was happy to be there for William in the same spirit he was for me. I was learning all the time. William’s love of ambient music and his beautiful guitar playing was something I could encourage, it felt spiritual in nature and went deep for him. Eventually we started to write songs together. One of the long nights of being in front of the mic as he recorded everything I said or sang, often so tired I could barely stand, held up only by his insistence at what he could see coming to life, Water From a Vine Leaf came into view. She Cries Your Name was our first proper song and where he taught me the basics of song structure, we built it from his guitar riff around my chorus line. I took myself off to Morocco with a copy of The Sheltering Sky to write the verses.


William gave me a gift, he showed me how to write a song and he showed me who I was capable of being at a time when I could have gone any which way; he threw me a lifeline, one I had to part ways with him to understand fully and make my own. Without him I discovered the seriousness of the situation I was in on the home and life front, and I got into some dark waters but I kept writing songs and one by one they became the album Trailer Park, and through it all I found my sound which I couldn’t have if I’d stayed in William’s world. Everything I learned from William became the seeds of a lifetime of exploration, maybe for him too in some ways. He went on to go stratospheric and he became harder to reach, although we stayed in touch and worked together sporadically through the

years. William could baffle originality into existence, he built a universe from

his spinning internal compass, one that drew multitudes towards his light, he

and his studio was, in those early years, a lighthouse to me.


Beth XXX










https://postpunkmonk.com/2026/08/12/william-orbit-1956-2026/


William Orbit: 1956-2026

william orbit monktone
William Orbit produced some of the richest Technopop I’ve ever heard

I saw the news last Friday when it was announced, but seeing as he was deceased for a fortnight prior to that day, I went with the planned reviews of the last few days. But I couldn’t keep from giving tribute to the inventive musical mind of William Orbit [Née Wainwright] indefinitely! But for me the beginning of his story was the high point, even as he mined gold with Madonna on her “Ray Of Light” album that probably kept him in a degree of comfort for the rest of his life. At least I hope it did!

But “the best Madonna album” meant nothing to me. The records I treasured by William Orbit were first encountered in 1984. I was watching the monthly I.R.S. The Cutting Edge on MTV; one of their finer moments, even if it was a shill for the plucky l’il US New Wave label. They slotted in a Techno-Psychedelic video for a long dance track by a band called Torch Song that was fantastico! “Don’t Look Now” was actually electrifying and I began a year-long search for the album by this band. It was a tough one to find in a store. But when I got the promo LP a year later, it was amazing.

As stimulating as the single had been, the tracks on the album were that much more amazing. Never more so than on “Telepathy,” which on good headphones actually sounded like it was being beamed directly into your skull from afar! The band at that point were Orbit, vocalist Laurie Mayer, and sax player Grant Gilbert. The combination of psychedelic electronics plus touches of a guitar gone berserk coupled with the femininity of singer Mayer gave Torch Song a unique sonic footprint in the generally dismal mid-80s! This band quickly assumed “new toy” status with my ears. The single “Prepare To Energize” was some serious Proto-Techno that turned a lot of heads thought it was more of a dance track then a song, per se, with minimal vocals. As of 2026, it is one of exactly two Torch Song tracks one can actually buy [easily] on CD.

torch song
Torch Song I [L-R]: William Orbit, Laurie Mayer, Grant Gilbert

I didn’t see much more than a few US promo 12″ singles that I assumed were the same mixes as on the LP I had of the first album. So I didn’t buy them… then! At the time I was reading my friend’s copies of Smash Hits, the UK Pop magazine, and in it I saw press ads for a UK single release of Torch Song’s amazing cover of “Ode To Billy Joe” so I knew that it was a single, but the actual records on import never came down to the sleepy hamlet of Orlando back in 1984-1985! I could see that the B-side on the twelve inch version was something called “Mothdoom Ecstasy!” I had to know what that track sounded like. As for the A-side it was a rare example of a weird fusion of Country-Folk with electronics. Something that Orbit would return to in a few years.

Torch Song seemed to come and go in a flash, leaving few traces on the earth. In 1986 I was watching to see on MTV’s “International Hour” where they played music from other countries to expand my horizons. One of the best artists I’d discover there was Etienne Daho; a French Technopop guy making fantastic songs in the mid-80s. His track “Tombé Pour La France” had me going to my friend Ron Kane who was able to import French goods on CD and when I got the exceptional “Pop Satori” disc, I was thrilled to see that Laurie Mayer and William Orbit played on several of the songs for a near-Torch Song [albeit poppier] quality of experience. This was the first I’d heard of them doing anything since the first Torch Song album, though Orbit was getting his hands wet by remixing various singles and tracks for I.R.S. artists. As for Monsieur Daho himself, I’ve got a plethora of silver discs in my Record Cell as he is my favorite French artist.

It was in 1987 when I finally saw a “new” Torch Song album and single when at Murmur Records. It was called “Exhibit A” and featured a reissued “Don’t Look Now” single adjacent to it. These were the first and only Torch Song records that I bought new on release. Starved for Torch Song, I bought the 12″ for a dance mix of “Can’t Find My Way Home,” a new-to-me Blind Faith cover, with the cut “Mothdoom Ecstasy” on the B-side. “Exhibit A” was a bizarre compilation of tracks and mixes. I wondered how a band with a single album would have a compilation, but that’s as far as I knew about things! The track list was a blend of five songs from “Wish Thing” [in new mixes from the 1984 LP versions] and four newer songs I didn’t recognize.

“White Night” I did know, since I had the single by Adult Net on 12″ already. What I didn’t know at the time was that it had been an early New Wave song from the pen of Rico Conning back with his first band, The Lines, in 1978! It was just a coincidence that in 1987, both The Adult Net and Torch Song covered it. Rico seemed to have joined the band while Grant Gilbert was nowhere to be seen. The version of “Can’t Find My Way Home” was beyond stunning. It was the sound of a primitive god manifesting in your room as the primal rhythms with the sub bass swells that accompanied the song’s intro quickly rose to fill your entire space. It was a hypnotic arrangement that never fails to instill awe in the base of my primate skull. The 12″ version was a svelte 5:40. What I would not have given for a ten minute mix of that track. It had the potential to be alpha and omega to anyone listening.

torch song 1986
Torch Song II [L-R]: Rico Conning, Laurie Mayer, William Orbit

There were two William Orbit events that also happened in 1987. The first was a solo album in 1987. Simply called “Orbit,” it was eleven songs with a different female vocalist this time; Peta Nikolich. Rico Conning was on board and even Laurie Mayer showed up to sing one of the songs. It was not as interesting as the Torch Song material; more mainstream and less extreme. Taken at face value it was enjoyable. Had I not known about “Wish Thing” it might have rated even higher. The one killer track was right up there with Torch Song’s acme. On “Cluny Ann” Orbit himself took the mic to sing [and play banjo!] on the spiritual sequel to “Ode To Billy Joe;” a Folk song with synthesizers about a mute country girl to melt the coldest heart.

That was the same year that Orbit also initiated his “Strange Cargo” series of instrumental “soundtrack” albums for I.R.S.’s “No Speak” instrumental Rock series. There had been brief instrumental on the “Wish Thing” album. Maybe these were as good? So I bought it and was unimpressed. The cuts just failed to connect with me. I preferred pop songs, to be honest. Though Billy Currie’s album for the series was my favorite album for 1987 so there’s also that! I kept it for a few years but when I thinned out the CDs in the mid-90s, that one went.

A real eye-opener was the “My Dying Machine” remix appended to the US version of the first CD Gary Numan recorded for I.R.S. Records in 1989. Called “New Anger” in America and “Metal Rhythm” in the UK, this amazing remix of a 1984 track from “Berserker” that had never been released in America before was phenomenal. It made me aware that Orbit was a name I needed to watch on the remix front. All of the considerable chops that he brought to the Torch Song releases, could now manifest more widely. In 1988 he released an OMD 10” remix for “Dreaming” that I’ve yet to buy for my rather large OMD collection owing to the prohibitive cost of this record.

By the late 80s I was buying many of my CDs through import catalogs that would arrive by mail every two to three months. I think the Portland company eventually became Sound City 2000. They offered UK, German, and Japanese goods that were pricey but very desirable. This was when a Japanese CD was easily a $30-40 expense. For a few years I got everything I ordered from this vendor. Rare German CDs of titles missing from the silver disc in America were especially gratifying. The first albums by Chris Isaak and Marti Jones were two that come to mind. It was maybe 1991 when I saw the “Exhibit A” Japanese CD so I ordered it. And before I received my copy, I did something stupid; I traded in my LP of that title as I usually did back then since I didn’t think I needed two copies of a title on two different formats in my pre-collector days.

Then the order was cancelled some months later and I never got that $36.00 CD. The Federal Trade Commission soon begin putting heat on Sound City 2000 and they went away. Worse, my LP of “Exhibit A” was now gone and it was hard to find another copy. So my Torch Song collection was pretty small at the dawn of the 90s. But I’d soon find out that things were even worse than I suspected. It was when I finally bought a copy of the Trouser Press Record Guide around 1993, that I could see that there had been a second Torch Song album in 1986 completely off of my radar called “Ecstasy” but it was not on I.R.S. Records. Instead it had been released on the UK indie YII label and it was impossibly scarce.

I would spend the next 15 years trying to buy a copy of this.

When I saw one it was not inexpensive. After many tries, I managed to have a winning bid at less than $50 on eBay for a copy. This was in the dawn of the 21st century. By that time I began to buy any and every Torch Song single I either saw or could mail order.

What I’d picked up on the internet, particularly on Discogs, was that there was no shortage of unique mixes of any and every single out there in both the US and the UK. My go-to stance was to simply buy everything that I could with the intent to make fully loaded CD-Rs of the three albums as personal REVO discs. Eventually, I realized that I may be on my deathbed before getting everything, so I made “straight” CDs of the “Wish Thing” and “Ecstasy” albums since it seemed like hell would freeze over before any Torch Song would hit CD format. But there were cracks in the firewall. A compilation called “I.R.S. Greatest Hips Vol 4 – The Remixes” gave us “Prepare To Energize.” And ironically, I had seen that there was a 1984 Torch Song flexi-disc for a song called “Hark” [as in the herald angels sing and all that] that the band issued for xmas of 1984. This was the second track to hit CD, with no doubt 20 times the fidelity of the flexidisc version, on a CD called “Just In Time For Christmas.”

In 1992 I went to Canada and bought a LOT of CDs. One of these was “Strange Cargo II” since Laurie Mayer was involved but it was more of the subdued library music that Orbit had more interest in that I did! Far better were the mixes he was making for bands like Erasure and… Kraftwerk. In 1991 Kraftwerk resurfaced with “The Mix” an album of re-recorded tacks from their “imperial period” that was seen as a stopgap measure but at the time we were so starved for Kraftwerk, that we took the bait. Two cuts managed to best the originals! One was the impressive re-work of “Radioactivity.” I initially bought the German CD-5 and it had a William Orbit remix that accentuated the pneumatic allure of the re-recording. Many hands would attempt to remix Kraftwerk but the path was strewn with peril. Not so for Orbit. It was so good that a year later I bought the US 12″ for the second Orbit “Hardcode Mix” of the track. He managed to inject even more Torch Song techno DNA into the already superb track to really take it places.

In 1995 a new Torch Song album, “Towards The Unknown Region” appeared. The credits showed Mayer and Conning on board, but I was not convinced. I had been burned by two Strange Cargo albums, and this reeked of the same to me. I waiting until I could get the CD in trade from the great LaLa.com nine years later and my suspicions were confirmed. More library music from Orbit and company. And if she’s not singing, why is Laurie Mayer on the credits for these albums?

As the late 90s closed out Madonna made the phone call and William Orbit would go from a small cult concern of record geeks like myself to a bankable name. I naively thought that with Orbit being so well-known that maybe Torch Song would finally get some CD reissues? I could only surmise that Orbit himself didn’t want it to happen. I was agog after the internet happened and found that an “Exhibit A” Japanese CD was a reliable $300-500 if you wanted it bad enough. I’ve heard that the fact that the music had been recorded on to cassette [a Portastudio?] as being cause not to digitize for CD due to the lower sound quality. If that was so then why did I.R.S. issue the LP promos [like I own, I never saw a commercial copy] on audiophile QuiexII virgin vinyl? Rubellan Remasters had tried to reissue “Exhibit A” on CD when they were a going concern but Orbit apparently wasn’t too interested in the attempt to issue the 80s Torch Song canon. And then there was the usual label push back, so that never happened.

I did see that Mayer and Conning worked together on her solo recordings which I really need to try beyond the solo 12” I have of “Dust In The Wind.” Which I didn’t care for when Kansas were playing it, so it’s not a shock that I still didn’t care for it with her singing. Meanwhile, Orbit did a lot of work with singer Beth Orton which I’ve yet to sample. I suspect that my yen for the earliest Torch Song is where the story started and finished for me. And there’s nothing wrong when that when the results were so accomplished and hyperstimulating. It wa sobvious to me at the time that Orbit was like a Phil Spector of the Post-Punk era. Perhaps even more than Trevor Horn, who always had both feet planted in Pop. Miles Copeland considered him I.R.S. Records “secret weapon” for a few years with that abandoned, first Sting solo album made with Orbit before Mr. Sumner clamped a lid on the results and binned them before heading to Jazzland instead for his nascent solo career. Maybe it’s for the best that this didn’t reach completion since I’d probably have cognitive dissonance over great sounding records that were still by Sting!

The music of William Orbit was much better suited to small, hip dance clubs. Those first two Torch Song albums along with a superb array of remixed singles is how I am remembering him this evening. They alone are enough to keep the torch in my heart for this amazing music burning for many years to come. We send condolences to his friends, family and bandmates.

-30-



Monday, December 27, 2021




A Sense of Doubt blog post #2505 - William Orbit - Musical Monday for 2112.27

I want to share about an artist that I adore. But first, a friend asked me to create a musical lineup with bands or musicians using the first letter of my name, like this:

Cocteau Twins
Hooverphonic
Roxy Music
Imogen Heap
Stereolab

Okay, I want to share about WILLIAM ORBIT.

I am pretty sure this story details how I learned of William Orbit.

I used to subscribe to a magazine called Details. You may remember it.

Usually, I did not use reviews to discover music. Usually, one band led to another, one musician led to another. Friend and most often girlfriend recommendations were often powerful. My love of the Jam and discovery of Japan and David Sylvian came from one girlfriend. Martha and the Muffins from another. Everything But the Girl, the Smith, Love and Rockets, and a few others from another girlfriend.

Being a David Bowie fan led me to Brian Eno and Robert Fripp among many others.

Though there were times I discovered bands or artists by just snagging interesting albums based on names and covers in the music store. This is how I first learned of Peter Gabriel, Pink Floyd, and really, even Bruce Springsteen. Certainly it is how I came to know and love Cabaret Voltaire, the Residents, Meat Beat Manifesto, and Ministry.

In this case, it was Details magazine. I saw two reviews that sparked my interest. One was for an album by someone named Lori Carson and entitled Everything I Touch Runs Wild, and the other was for Beth Orton and an album called Trailer Park. The review talked about the producer, William Orbit, and how he was working with MADONNA to produce an album that would become Ray of Light, possibly the only Madonna album I really like.

I went to the local music store and bought both albums.

I cannot remember if I started buying William Orbit work after discovering him as producer of Beth Orton or after he produced Madonna's album.

Strange Cargo III had come out before he produced either of these women. So, I bought it at some point followed by Strange Cargo and later as they came out Pieces in a Modern Style I and II, Hello Waveforms, and My Oracle Lives Uptown.

I do really love all this work. Strange Cargo III was a favorite until Hello Waveforms came out and then it became one of my favorite albums of all time. Though it did not make my top twenty, it was on the alternate list for the "top tier" as explained in T-shirt #97 Kraftwerk.

I strongly recommend all this music, especially Hello Waveforms.

https://www.williamorbit.com/


https://www.instagram.com/williamorbit/

https://en.wikipedia.org/wiki/William_Orbit

And now, I see Orbit has released a new EP!!




EP TRACKLIST

01 - Starbeam
02 - Wordsworth
03 - Diso
04 - Águilas (feat. Lido Pimientia)
05 - Starbeam (Extended Mix by Shocklee)
06 - Águilas (Instrumental Mix)












#Anjunadeep #WilliamOrbit #Starbeam

Premiered Nov 19, 2021






• Buy/Stream 'Starbeam' single: https://anjunadeep.ffm.to/wostbm.oyd
• Pre-order 'Starbeam EP': https://anjunadeep.ffm.to/wostrbmep.oyd
• Follow Anjunadeep New Releases: https://anjunadeep.ffm.to/newreleases...
• Listen to the Anjunadeep Discography: https://anjunadeep.ffm.to/discog.oyd
• Listen to Anjunadeep Radio 24/7: https://anjunadeep.ffm.to/radio
• Join our newsletter for updates: https://anjunadeep.com/signup

Multiple Grammy-award winning writer, composer, producer, and performer William Orbit is considered a pioneer of electronic music and one of contemporary pop’s most innovative artists. He now returns with a 4-track EP ‘Starbeam’ set for release December 1st via Anjunadeep, with the single of the same name out today, November 19th. 
 
In a career spanning 40 years, his influence is insurmountable. Producing some of pop music’s most seminal records - Madonna’s ‘Ray Of Light’ and ‘MDNA’, Blur’s ‘13’, Robbie Williams’ ‘Rudebox’, Finley Quaye’s ‘Dice’, Pink’s ‘Feel Good Time’ and All Saints’ ‘Testament’ to name a few - he has won 3 Grammy Awards and been nominated a further 5 times, with work on albums by U2, Britney Spears, Beth Orton, Queen, and Michael Jackson. Immersed in classical, pop, and electronic worlds, his contributions to contemporary music illustrate a great cadence of alchemic studio fusions and what he calls ‘curating serendipity’. Returning with the 4-track EP ‘Starbeam’, William’s first solo release in seven years, this marks his Anjunadeep debut. 
 
His first solo release in seven years, ’Starbeam’ is the latest triumph in a career that’s birthed 11 solo studio albums and 7 ensemble albums as a member of Bassomatic, Strange Cargo, and Torch Song, and the influential Guerrilla Records label. Demonstrating his soulful ear for authenticity and creativity, ’Starbeam’ is an all-enveloping musical journey that sends the listener hurtling through the stratosphere. Mastered in Dolby Atmos 360 audio, ’Starbeam’ conveys William's unquenched fascination into the minute details and continued refusal to stop experimenting. 
 
As impressive as it is, William’s production work is only one aspect of a life spent entrenched in the forefront of the electronic landscape, pushing the music and culture further and further beyond its perceived dancefloor boundaries. As one of the most influential forefathers of the essential post-rave and back-to-mine soundtrack, his ambient, downbeat ‘Strange Cargo’ album series was intrinsically rooted and referenced in the 90s ambient, chill-out, and Balearic movements. Similarly, William’s 1995 seminal album ‘Pieces In A Modern Style’ conveyed a never-before-seen fusion of classical and electronic, where classical arrangements were transposed in the most modern and futuristic way, laying the foundations that composers such as Nils Frahm and Jon Hopkins build on today. His work in this field remains matchless, yet was created with no formal training in musical theory whatsoever. With a combination of his soulful ear for authenticity, scientific eye for schematics, an innovative ability to join consistent dots between disparate worlds in a transient universe, and a spirit for breaking rules; William Orbit is a maverick conductor, engineer, and artist with an unquenched fascination into both the micro and macro details of anything he’s creating. 

Release date: 19 November 2021













TRACK LIST:
[1] Sea Green 
[2] Surfin
[3] You Know Way Too Much About Flying Saucers
[4] Spiral (feat. Kenna & Sugababes)
[5] Who Owns The Octopus
[6] Bubble Universe
[7] Fragamosia
[8] Firebrand
[9] They Live In The Sky
[10] Colours from Nowhere


William Orbit posted Krampus on his Instagram:


SOME OF WILLIAM ORBIT'S ART WORK:

Molecules Of Sound

Oct 16, 2020



William Orbit

Video only, no audio.










TO GET EACH INDIVIDUAL PIECE CLICK HERE:







Happy final Monday of 2021.

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- Bloggery committed by chris tower - 2112.27 - 10:10
- Days ago = 2369 days ago
- New note - On 1807.06, I ceased daily transmission of my Hey Mom feature after three years of daily conversations. I plan to continue Hey Mom posts at least twice per week but will continue to post the days since ("Days Ago") count on my blog each day. The blog entry numbering in the title has changed to reflect total Sense of Doubt posts since I began the blog on 0705.04, which include Hey Mom posts, Daily Bowie posts, and Sense of Doubt posts. Hey Mom posts will still be numbered sequentially. New Hey Mom posts will use the same format as all the other Hey Mom posts; all other posts will feature this format seen here.
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A Sense of Doubt blog post #4025 - THE PAINTER - William Orbit's first album in Eight Years - Music Monday for 2602.23


How did I Miss This??

And it dropped almost four years ago.

I just discovered that there is a new William Orbit album, and I have been basically listening to it on repeat ever since.

Even though I saw some negative reviews, I think it's excellent!!

That's all. What else to say but listen to it!

Happy Music Monday.

Thanks for tuning in.



https://williamorbit.com/albums/the-painter




https://pitchfork.com/reviews/albums/william-orbit-the-painter/

An icon of ’90s pop-dance crossover who produced Madonna’s Ray of Light, the UK musician returns with his first album in eight years, but the record’s endless-sunset vibes quickly turn cloying.
From landing a Top 10 hit with an early dance classic to producing Madonna, London’s William Orbit was a low-key presence at some of electronic music’s most important crossover moments. “Fascinating Rhythm,” a 1990 single from his group Bass-o-matic, was a magically haunting bit of slow-motion house, while his Strange Cargo albums were landmark releases, mixing fourth-world electronics with dub basslines, ambient house trills, and new-age atmosphere. Later he worked on Madonna’s Ray of Light and Music and Blur’s 13, stopping only to invent classical trance with his hugely influential cover of Samuel Barber’s “Adagio for Strings,” before getting heavily into cocaine in the 2010s, doing what he describes as his “rock’n’roll excess thing,” and eventually being committed to a psychiatric hospital.
Orbit makes his re-entry with The Painter, his first album since 2014. His productions sound as opulent as ever, daubed with lavish string arrangements, sparkling guitars, and the most polished vocal effects that a lucrative production career can bring. On the opening “Duende,” luxuriously plucked guitar meets gorgeous string sweeps, guest singer Katie Melua’s effusively processed voice, and a slightly anodyne beat. A gilded balloon of ambient pop floating in a directionless waft of relaxation, this is music that doesn’t have to be anywhere in a hurry. “Gold Coast” is another indolent highlight, its plaintive guitar riff, twinkling piano, and electronic squiggles bubbling like hot oil in a lava lamp, while “I Paint What I Can See” (featuring longtime collaborator Beth Orton) makes excellent use of a bassline reminiscent of Orbit’s excursions into dub on Strange Cargo III.

It all sounds very nice, and it is—potentially too much so for The Painter’s overall good. What is, on paper, a tantalizing group of guest singers—including Colombian-Canadian Lido Pimienta and late Tanzanian musician Hukwe Zawose—succumbs to a honeyed stream of premium chill-out moods and expensive sunset feels. “Nuestra Situación,” featuring Pimienta, may be the most telling example: The reggaeton-lite beat nods to genuine musical progress in Orbit’s world, but sees its resistance washed away in identikit synth and piano vibes. Zawose’s sampled vocal on “Heshima kwa Hukwe” endures a similar fate, its edges drowned in Orbit’s ornate blurs.

This is an affliction that hits The Painter time and again, as singers as distinct as knitted-brow electro artist Polly Scattergood and house crooner Ali Love are lost to a Dido-ized soft focus. Orbit claims to focus on “melody, feeling, sonics and narrative” in his work, but it feels like he has gotten caught up in the scene-setting opening paragraphs of an idyllic travelog, rather than developing a story of dramatic depth. The exception to this is the dubbed-out “Epic” mix of “I Paint What I Can See,” a sprawling excursion into astral ambience that closes the album in a grandiloquent wave of distorted guitars and maternal low end, whose electrifying ebb-and-flow brings grit and drama to The Painter’s golden shores. Sadly, this obvious album highlight is only available on the vinyl edition of The Painter, a bizarre decision that only serves to bury Orbit’s best work.

“Epic” aside, The Painter serves up a pastel buffet of friction-free music that proves entirely pleasant in small doses. Over the length of an album, though, it feels like the day-lit nightmare of an interminable sunset, an infinity pool that literally never ends. It’s great that William Orbit is back after some difficult years, but you suspect The Painter may ultimately have been more rewarding to create than it is to listen to. It comes off as a therapeutic act from an artist who, assuming he’s managed his royalties, never really needs to work again, rather than an album that simply had to be made.



https://www.treblezine.com/william-orbit-the-painter-review/

William Orbit : The Painter






It is hard to wash the stench of schmaltz off. William Orbit’s The Painter has its moments, certainly, little curlicues or tricks of sound design and production that perk up the ear, but the melodic and compositional sensibility lean unfortunately too close to a hybrid of bad Massive Attack pastiche combined with the uncanny sensibilities of mainstream pop electronica. This isn’t to say that mainstream electronic work can’t be great; Sylvan Esso, for instance, have been consistently strong, having delivered their strongest and most experimentally delightful record this year. But this particular blend finds a hard time being deeply satisfying, seeming gunshy toward committing either to the artfully deep or the readymade functionality of pure club music. There is an identity crisis at play on The Painter, feeling at times like Orbit isn’t sure whether he wants to explore the abstract and jazzlike limits of the melodic ideas present here, to create a dense and consuming groove or to be a purely melodic vocal-driven project. This seeming lack of a conceptual throughline leads to weaknesses large and small, eroding the record both from the outer edges of it as a complete work as well as microfractures within the songs, choices of production and juxtaposition that wind up confusing rather than widening the lens.

This is so keenly frustrating in part because almost every song has a performance or sonic idea that is compelling and worth saving. Beth Orton, for instance, appears in several places across this record and each time, her sensitivity to the material brings a keen human edge to otherwise deeply synthetic music. But her utilization feels uncapitalized by the production, which neither expands into rich and fibrous jazzlike humanity beneath her nor gives a satisfying sense of artificiality to challenge our standard perceptions of her as a perform. Instead, it feels, sadly, more like a standard pop electronica piece with an incredible vocalist on top. Similar missteps occur with the collaboration with performers like Hukwe Zawose and Lido Pimienta, who each provide compelling performances that wind up married to subpar production which shimmers with the gloss of a million-dollar job but without the character or soul needed to really drive those performances either into the beating heart of intimacy or the wide beaming lights of absolutist pop.

The Painter offer suffers from a confused aim, seeming unsure of what space or how much of it it wants to take up. The result is a record that seems frustratingly incapable of rising beyond background music, like it was born to be a soundtrack for a film or video game or TV show but not to demand attention drawn to itself. It’s not hard to imagine these pieces brought to life by some image-driven component. “Colours Colliding” for instance calls to mind a meditative walk in the snow, drifts swirling in the air and dropping to the ground, the crispness of icy air and the coziness of knitted wool wrapped around you in hands and scarves and gloves and sweaters. Each of these pieces feels tantalizingly close to something that could be powerful and some, like the aforementioned track, achieve it, despite minor grievances in somewhat cliched melodies or production movements. If the album were perhaps more committed to an ambient sensibility, moving more toward textural work rather than pop-aligned work, it could achieve a painterly palette; for a pop record, it lacks that definitive boldness or heart-bared sincerity that makes work in those fields work. It is capably produced, revealing Orbit’s mastery of the studio as an instrument. I just wish it had better (or more consistent) songs to back that up.






https://www.theguardian.com/music/2022/aug/28/william-orbit-the-painter-welcome-return-of-the-classy-dance-master

It’s good to have William Orbit back. After a brief and unrewarding dabble with drug addiction, the veteran English musician had a comeback of sorts with 2021’s patchy Starbeam EP, but The Painter is a more satisfying return. Orbit’s definitive work is surely All Saints’ Pure Shores, where sleek, subliminal layers of electronic effects add depth and wonder to its gorgeous melodies. While there’s no sign of Orbit resuming that imperial phase when he was first-pick producer for Madonna and U2, his distinctively ambient-classical take on dance-pop proves surprisingly durable.

Longtime collaborators Katie Melua and Beth Orton seem almost smothered by his efforts here, but there’s a gentle grandeur to first single Colours Colliding, with Polly Scattergood giving it her best Björk among some lovely strings and piano. It would be nice to have more dancefloor-friendly beats, like the Despacito dancehall kick powering Nuestra Situación, but there aren’t many artists who could create Heshima kwa Hukwe, a tribute to departed Tanzanian singer Hukwe Zawose without seeming grimly exploitative. Like the album as a whole, it’s slightly overlong and unnecessarily repetitive, but clearly made with great care and affection.



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- Bloggery committed by chris tower - 2602.23 - 10:10
- Days ago: MOM = 3889 days ago & DAD = 543 days ago
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- Bloggery committed by chris tower - 2608.17 - 10:10

- Days ago: MOM = 4064 days ago & DAD = 718 days ago

- New note - On 1807.06, I ceased daily transmission of my Hey Mom feature after three years of daily conversations. I post Hey Mom blog entries on special occasions. I post the days since ("Days Ago") count on my blog each day, and now I have a second count for Days since my Dad died on August 28, 2024. I am now in the same time zone as Google! So, when I post at 10:10 a.m. PDT to coincide with the time of Mom's death, I am now actually posting late, so it's really 1:10 p.m. EDT. But I will continue to use the time stamp of 10:10 a.m. to remember the time of her death and sometimes 13:40 EDT for the time of Dad's death. The blog entry numbering in the title has changed to reflect total Sense of Doubt posts since I began the blog on 0705.04, which include Hey Mom posts, Daily Bowie posts, and Sense of Doubt posts. Hey Mom posts will still be numbered sequentially. New Hey Mom posts will use the same format as all the other Hey Mom posts; all other posts will feature this format seen here.