Partially synthetic and partially organic, Orbiter successfully combines trip hop beats, stellar guitar work, and perfect harmonies with a pop rock sensibility. The group returns with their second release (the bands 1st full length cd) Sparks on a String which will undoubtedly bring major labels knocking on Loveless Records door. Formed a little over 3 years ago by ex Hammerbox guitarist Harris Thurmond and vocalist/keyboardist/guitarist Fiia McGann from the Seattle-based Alternative Rock band Goodness, the group’s unique style caught the attention of Loveless. Once signed, Orbiter released an EP entitled Mini LP in 2000. While the disc was hailed by critics, it was immediately compared to works by Portishead, and rightfully so. Although Sparks on a String retains Orbiter’s signature quality, the CD features a poppy nuance of bands such as Garbage and No Doubt (in part by Fiia’s luscious vocals) with a sincerity of Brit-pop bands like Coldplay and Travis. Variety is a key ingredient to Orbiter’s appeal, and Harris and Fiia share lead vocal duties for a delightful contrast with backing harmonies provided by keyboardist Stephanie Wicker. Even though Harris Thurmond has abandoned his Grunge roots, he still plays a mean six string. However instead of angst the guitarist has become more focused on technique and design than volume and intensity. This becomes evident from the 1st track, Stars, which is duet between the two lead singers who harmonize with a flawless timbre amongst a wash of stylish guitar licks. Fiia’s angelic solo vocals are showcased for the first time on the slow moving and poignant Apple Tree. While her voice draws resemblance to Shirley Manson, McGann leans towards genuineness with less attitude. With only an acoustic guitar accompaniment, Fiia surprises the listener with the uncomplicated yet effective Noticing.
- Tony Engelhart, Crud Magazine
NEWS & REVIEWS
There’s a tension that pulls pop accessibility and frilliness away from Orbiter’s rock and experimental leanings on Sparks on a String. A quantum leap ahead of the band’s debut, Mini LP (2000, Loveless), Orbiter strikes a careful balance between all of its esoteric leanings. Whether it mixes washes of haunting keys with a sure-handed drum loop to get a breezy, though still weighty, vibe (“Apple Tree”), or lets singer Fiia McGann’s heavenly vocal melodies inject hooks all over British post-rock a la Laika to get a sound all Orbiter’s own (“Understood”), there’s no messing around with the lingering ghosts of worn-out pop and rock ideas. What really makes Orbiter sound like it should come from across the pond rather than just the coffee- and rain-soaked streets of the Pacific Northwest, however, is the respect it gives its pop influences. Unlike 95 percent of American popsters, Orbiter knows that in pop there are not just thrills, but sophistication to be had. There’s no shortage of ear candy on Sparks on a String, but Orbiter doesn’t stop there: It brims with the depth, maturity and weight so often neglected in the American indie-pop world.
- Aversion.com
While fans and critics praised the relaxed trip-pop of Orbiter’s 2000 debut, Mini LP, I couldn’t shake the feeling that their down-tempo beats weren’t trippy enough and their up-tempo pop wasn’t rockin’ enough. Harris Thurmond, Fiia McGann, and their bandmates correct that beautifully on their full-length follow-up, adding spacey, pedal-driven guitar effects and enough foot-tapping beats to satisfy the most craven rock addict. Their propulsive pop gem “Gone” almost sounds ripe for major radio play. I must confess that although Thurmond’s low-key voice is perfectly suited for Orbiter’s lighthearted rock songs, I love McGann’s sultry, sensuous vocals on the shimmering shoegazer track “Get You There,” where she harmonizes perfectly with Stephanie Wicker. And don’t worry about Orbiter abandoning their trademark trip-hop stylings. Those familiar head-bobbing grooves make their appearance on the laid-back lounge of “Apple Tree” and the expansive, near- instrumental “Happiness,” with McGann whispering a quotation from Channing Pollock.
- David Slatton, The Stranger
Orbiter accomplish the seemingly impossible feat of playing several different styles of music, playing them well, and doing it in a manner which is neither jarring nor contrived. There’s more here than the aforementioned forays into rock and, for lack of a better word, lounge-hop; Sparks on a String features slightly off-kilter electronica (“Get You There” and “All I Want For Christmas Is Higher Seratonin Levels”) side by side with songs that sound like a cross between Hayden and stadium rock (“Way About You”). This is the sort of album that can go from a beautiful folky lullaby (“Noticing”) to Ben Harper-style roots rock (“Gone”) without any buffer between the two, and not lose momentum. How you ultimately judge Sparks on a String will really depend on where you stand on the issue of intent versus result. If you go in expecting the next great guitar rock band, you’ll be sadly disappointed. If, however, you want to hear a talented, diverse and inventive band, this may be just the album you’re looking for.
- Matthew Pollesel, Splendid
Sparks On A String is their second release, their first full-length, and it expands on their initial offering, taking more chances, and moving beyond just a pop song. It is a well-written, strong collection of songs that progress nicely from the start of the album to the close. I’ll give it a B.
- Alex Steininger, In Music We Trust
“Sparks on a String”- A shining example of the work of [producer] Tucker Martine (issue #29), recorded at this Flora Ave Studio, another place called Airstream, and also Martin Feveyear’s Jupiter Studios. It’s a sonic treat with many “Tucker” touches, like produced drum sounds, backwards sounds and open, evolving, interesting mixes. Cool poppy rock action too, with guy/girl vox and some crazy guitar work.
- TapeOp
This stunning debut from Seattle’s Orbiter is a study in contrasts. Mini LP kicks off with “3 A.M.,” a languorous, atmospheric instrumental that establishes the dark tone that colors the entire set. But a light, joyful mood also surfaces throughout the CD via the restrained yet uplifting interplay of guitar and synthesizer. On “Stray Dogs,” the listener is treated to the alluring vocals of Fiia McGann as she ponders the need to come to terms with life’s decisions and regrets in order to make peace with oneself. The crisp, shimmering guitar attack of the other half of this dynamic duo--Harris Thurmond--punctuates the songs and accents the vocals perfectly; his playing is confidently assertive but never overpowering or intrusive. Thurmond takes his turn at the mic on a couple of numbers and his “Paper Tiger,” a meditation on a celebrity who’s fallen from grace, is a highlight. Combining guitar work and a melodic sensibility that reflects Radiohead, as well as plaintive vocals and deep rhythmic grooves that recall Portishead, Orbiter has crafted a unique style of guitar driven trip-pop that is at once familiar and notably original.
- Michael Wells, Amazon’s 10 Best Emerging Artists CDs of 2000
Orbiter is really impressive. Consisting of ex-Hammerbox maestro Harris Thurmond and Goodness’ Fiia McGann, Orbiter lays down mellow electro-pop that owes as much to Lou Reed as it does to Portishead and Everything But The Girl.
- Popmatters
Whether it mixes looped rhythms and chilly Guitar with singer Fiaa McGann’s breathy delivery or settles on a mix of moody keyboards and reluctant looped drums that truly blur the line between what’s live and what springs from a processor Orbiter builds a style that mixes the power of electronics and the flow of live music.
- Aversion
From the ashes of Goodness, Miracle Baby and Hammerbox, Fiia McGann and Harris Thurmond have risen in the night like a nocturnal phoenix to become one of the region’s grooviest beat benders. Cool and low, subtle and sneaky, they stir their hips and shake this cocktail party like a dry, dry martini. Before you know it, they sway their way across the brain, infecting it with hipster suave. The whole head lightly rocks back and forth to the slick production of guitar effects, bass lines, loops and occasional keys compliments of Mr. Reggie Watts. The eyes go blurry from the seductive vocals, whether it be him or her, they go down smooth like good bourbon. Seven songs later, the party’s over. Without warning, they pull the plug and pack it up. But unlike other late-night liqueurs, Orbiter can in be enjoyed in generous amounts again and again.
- Shawn Telford, The Rocket
Orbiter begins it’s newest release with soothing drum and keyboard song entitled “3 A.M.” that makes you wanna go dance in the rain and apologize to everyone for everything you’ve ever done. It’s a strong start to a relatively strong album. Fiia McGann’s vocals are reminiscent of Shirley Manson of Garbage and when Harris Thurmond sings he’s got a quality that seems to be the offspring of Nick Drake and the guy from Collective Soul, but he wishes “he could sing like Curtis Mayfield does.” The e.p. carries a slow techno feel throughout that makes you question the direction of rock and roll, but Orbiter gives this sound reason to stick around and flourish. “Mini LP” is a nice treat and deserves a good listening.
- l-dawg, Illandalice
If you’re expecting former Hammerbox guitarist Harris Thurmond’s new project to sound like his old band, boy are you in for a surprise. Rather than revisit previously charted territory, Thurmond has started from scratch with Orbiter. The result is a more laid-back, groove-oriented, and downright soulful affair. Although he’s enlisted the help of friends like Goodness’ Fiia McGann (who contributes occasional vocals), Thurmond actually takes the mic this time around. If you’re looking for something subtle, slinky, and slightly seductive, try this on for size.
- Barbara Mitchell, The Stranger
Next up were Orbiter, who were playing their first show and marking the release of their debut EP, ‘Mini LP’ (Loveless.) Together the two singers alternated vocals and worked in a rich, trip-influenced groove. They overcame some first-night jitters to turn in a solid set which peaked with Fia McGann’s (Miracle Baby, Goodness) earthy, emotional rendition of ‘Sentimental.’
- Dave Liljengren, Live Review, The Rocket
