So this has been my wallpaper on my iPhone for at least a month now.  Check out my Xbox controller in the distance.

[CLICK THE BANNER ABOVE TO PURCHASE ORBITAL ON ITUNES]

Cover by InfamousJeanClaude [Twitter] [Facebook], website coming soon.

The video for Orbital is produced by him also, which is also nearing its release date [MAR/APRIL]. We have been working in conjunction for over a solid year, and we’ve claimed that this year is going to be our year. I’m extremely happy to have him as part of this project.

I’ve received a lot of praise [and a lot of hate] about this song; partially because people thought I used Autotune, which I did not. Some people would say I took a chance by putting this on noir, but this happens to be one of my favorite songs on the entire tape and I’m glad I didn’t question if it should have been on it or not.

This was the only song on noir I didn’t rap on, and is also the only song on the tape I wrote and produced entirely myself. I believe vocoders are beautiful instruments, I just believe that it has been given a bad rep because it’s most commonly associated NOW with your typical local rappers and R&B-heads. If you take a look back into history you’d find it scattered here and there tucked under harmonies, or even sometimes in bridges or lead vocals.

From Zapp to Earth Wind and Fire, vocoders have made their re-appearance in music because of their unique sound and clarity. People have the misconception that you just turn it on and go, and it really isn’t that easy. The instrumental part of Orbital took the shortest time to complete, whereas I played each key-change live on the keyboard while I sang into my microphone. To ensure that I kept the fluidity of the song, I made sure I did not pause or punch-in any part of the song, I played it straight through, minus the chorus changes.

All in all, Orbital was influenced by the idea that a woman who means everything to you is essentially, your world.

And if she surrounds you…she is Orbital.