Orbital ‎– The Altogether

FFRR ‎– 8573 87782 2
CD, Album

Tracklist Hide Credits

1 Tension 5:52
2 Funny Break (One Is Enough)
Lyrics By – Andrew BramleySaxophone [Sax] – Michael Smith*Trumpet – Dominic GloverVocals, Lyrics By – Naomi BedfordWritten-By – A Bramley*, N Bedford*
3 Oi! 5:04
4 Pay Per View
Bass Guitar – Andy James
5 Tootled 4:51
6 Last Thing 5:12
7 Doctor?
Written-By – Ron Grainer
8 Shadows 5:47
9 Waving Not Drowning
Vocals – Kirsty Hawkshaw
10 Illuminate
Backing Vocals – CluneVocals, Written-By, Lyrics By – David Gray
11 Meltdown 10:17

Companies, etc.



Comes in a transparent tray jewel case with a 10-panel fold-out booklet.

Recorded and mixed at The Strongroom.
Cut and mastered at The Soundmasters.

• 'Tension' contains samples from 'The Crusher' and 'Surfin Bird' by The Bananamen (licensed from Ace Records Ltd.)
• 'Funny Break (One Is Enough)'. Breakbeat taken from 'Breaks! Ask Asken Volume 1'.
• 'Oi!' contains samples from Ian Dury 'Hit Me With Your Rhythm Stick' and 'Reasons To Be Cheerful (Part Three)' (courtesy of Templehill Music Ltd, by arrangement with Warner Chappell Music Ltd.); and Beaver & Krause 'Walkin'' (appears courtesy of Warner Brothers and licensed from Warner Special Products).
• 'Pay Per View' features a sample of Terence Stamp from 'Poor Cow' (courtesy of Canalplus and Terence Stamp).
• 'Tootled' contains a sample of 'Sober' performed by Tool (appears courtesy of Volcano Records); and a sample of of 'How Does It Feel-' by Crass.
• 'Shadows'. Tom Baker appears courtesy of BBC Archive. Thanks to Tom Baker.

[On back sleeve:]
[P] 2001 London Records 90 Ltd.
[C] 2001 London Records 90 Ltd.

Made in Germany.

[On label:]
℗ 2001 London Records 90 Ltd.
© 2001 London Records 90 Ltd.

Barcode and Other Identifiers

  • Barcode (Text): 0685738778225
  • Barcode (Scanned): 685738778225
  • Rights Society: GEMA/BIEM
  • Rights Society: GEMA/MCPS
  • Label Code: LC00253
  • Distribution Code: WE8820
  • Matrix / Runout (All Versions): 857387782-2 03/01
  • Mastering SID Code (All Versions): IFPI L012
  • Mould SID Code (Variant 1): IFPI 055
  • Mould SID Code (Variant 2): IFPI 05N8
  • Mould SID Code (Variant 3): IFPI 0581
  • Mould SID Code (Variant 4): IFPI 0540
  • Mould SID Code (Variant 5): IFPI 0591
  • Mould SID Code (Variant 6): IFPI 0584
  • Mould SID Code (Variant 7): IFPI 0598

Other Versions (5 of 27) View All

Cat# Artist Title (Format) Label Cat# Country Year
40678 2 Orbital The Altogether(CD, Album + CD, Comp + Ltd) FFRR 40678 2 US 2001 Sell This Version
none Orbital The Altogether(CD, Album, Promo) WEA Records, London Records none Germany 2001 Sell This Version
8573 87782 2 Orbital The Altogether(CD, Album) FFRR 8573 87782 2 UK & Europe Unknown Sell This Version
none Orbital The Altogether(CDr, Album, Promo) WEA Records none Germany 2001 Sell This Version
none Orbital The Altogether(CDr, Album, Promo) Not On Label none UK Unknown Sell This Version


Reviews Show All 9 Reviews

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September 24, 2018
edited 2 months ago
Utterly fed up by the negative reviews The Altogether received.
I'm an absolutely massive fan of Orbital and each album has been an evolution, this was a really good one.

The Altogether is an incredibly brave collection of tracks. They sit well individually from each other, but also work together to form an advanced body of work.
I can understand that some fans would not be able to relate this album to previous releases. However, there is a great amount of innovation here and the sound pallet is very creative - much more diverse than say, The Middle of Nowhere.

I loved this album from release and whenever I listen to it again through the years, I remain unchanged.
There are huge dance tunes in here like Oi!, Tootled is soooo tight!
Pay Per View is so far from what Orbital had done before, but it is genius - possibly some of the best production that Orbital has ever released.
There are too many good tracks to go through here, the only one that maybe drags a bit is Last Thing.

The only thing I utterly hate about this album is that it never came out on vinyl.
MiniDisc would have been a nice option ; )


March 23, 2018
edited 3 months ago
How is it possible to not pick "Illuminate" as the lead single from this album? That song is stellar, got crossover appeal with David Gray, and could have rescued a rather lackluster album, yet the record company choose "Funny Break"? Seems like a case of snatching defeat from the jaws of victory...

In my opinion, this sequence would have made the album a worthy follow up to "Middle of Nowhere":
Funny Break (One Is Enough)
Pay Per View
Last Thing


July 9, 2016
edited 3 months ago
To sum it up in a nutshell this is the contractual obligation album. The songs (if they can be called that) "Tension", "Oi!", "Tootled", "Waving Not Drowning" and "Meltdown" are more about sticking two fingers up to the label than pleasing the fans...


September 17, 2013

I have approached this album with caution, knowing how many negative reviews it's gathered over the years. Of course I knew "Funny Break" years before, but only this morning I have finally listened to the album in its entirety. And it sounds great! It's right on par with "The Middle of Nowhere" and even "Snivilisation", and not even a bit less interesting. It cannot be compared with Green or Brown, because it's different in style. You need to make up your mind what you expect of this album, before taking it on. Electronic music was different back in the early 90's when Green and Brown were released, and it is no surprise that the highly successful techno innovators such as Orbital have altered their sound ten years after that. It's intriguing, involving, and still makes you move every now and then. The only flaw I would say is its lack of signature climax, an anthem you anticipate by the end of the album; instead, "Funny Break" strikes right at number 2, which is not the way Orbital have usually set their tracks. Anyway - don't listed to the reviews - go and listen to it!


July 17, 2013
edited over 5 years ago
I am surprised at how few reviews there are of this album, and how most are negative. Having just listened to this album (twice) for the first time in at least 7 years, I am astounded at how much more I like it now compared to when it was first released, and I felt spurred to write something more positive.

I'm actually inclined to say that, stylistically, this is their most consistent, listenable and creative album since In Sides. They seem to have gone for a post-retro sound, i.e. the sounds are new, but I feel like they are channeling '60/70s Britain throughout. What I mistook for a hodgepodge of styles when this was first released now comes across as being much more coherent: this is Orbital pulling Add N to X-style rock vamps while sticking vehemently to their melodic guns; this is Orbital in the re-awakening of Britain of its BBC Radiophonic Workshop past, and this is Orbital doing a '70s (not '80s) pop/lounge album in their own inimitable style.

Their synth programming is on par with anything they ever did, but they also makes significant efforts to get away from some of their usual stylistic crutches. It's Orbital trying a little less hard to be classic "Orbital" while still very much sound like them; it's a tough balance but they manage it without sounding like they are trying too hard. Their vocal hooks are as catchy as ever, if not better, and I appreciate the unabashed happy-go-lucky nature of the entire album--this makes the odd "cheesy" synth sound easily forgiven. The only truly downer moment, for me, is the last song, Meltdown, which feels very out of place. Orbital doing (overwrought) IDM-style drum and bass just doesn't work. Ever. This was true in '94 for "Are we here", and it's true in 2001. Finishing on Illuminate would have been stellar. Oh well.

In the context of the earlier Middle of Nowhere and the later Blue album, those albums seem much more hackneyed and belabored to me now compared to The Altogether (although I vastly prefer the first to the second).

Ultimately, this will never be a classic Orbital album to the casual fan of their earlier material. But I think time has served it well, and it is definitely worth another listen if you, like me, had disowned it long ago.

I'll also add that the second disc is full of some b-side classics. Most of the slightly-too-many remixes of "Style" and one completely dodgy trance remix of Funny Break ["Funny Break (Weekend Ravers Mix)"] can be ignored, but "Monorail", "Doctor look out" and "Beezlebeat" are fantastic and should have all been on the Blue album. "Mock Tudor" is possibly one of the simplest, but most melancholic songs Orbital have ever done, akin to "The Tranquilizer" in terms of bittersweet melodies.


October 21, 2006
edited over 12 years ago
Orbital. Now more pop than ever before.

I've found three really good tunes on Orbital's new album. "Funny Break (One Is Enough)" is a classic Orbital-song with beautiful cyclical vocals by Naomi Bedford. "Doctor?" is the brothers' techno version of the Doctor Who theme, a favorite from innumerable live sets, finally down on plastic. "Meltdown", the last track on the album, is an epic masterpiece with clear rave vibes. The tune's got it all: slow HEAVY bass, at least two different breakbeats, piano loops, samples of type writers, sirens, telephones, smashed glass... and a build-up so filled with energy that it's next to impossible to sit still, you just gotta dance.

The rest of the album does have a few golden moments, but they are overshadowed by an all permeating feeling of cheesiness. For some unfathomable reason Orbital have taken the tinny sounds of eighties hi-nrg pop and tried to turn it into nineties rave. The result is thin and unengaging. Dated.

Also irritating is the fact that all of "Meltdown" isn't included on the CD, only the DVD version has the complete 22 minutes.