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The best kept secret in music


"Review Ladies and Gentleman introducing new sound additives and preservatives"

Thanks to its Spiritualized-referencing title, a lot of people will probably approach Ladies and Gentleman Introducing New Sound Additives and Preservatives By The Flight Orchestra expecting some sort of druggy, symphonic (not to mention pompous and overblown) rock album. These people will be very disappointed. The only thing the Flight Orchestra have in common with Spiritualized, apart from the fact that both acts are essentially comprised of one person, is that they both favor minimal soundscapes -- albeit for different reasons. In Spiritualized's case, stripped-down arrangements generally mean that Jason Pierce is taking a rest from setting up his orchestral arrangements and starting up the gospel choirs. With the Flight Orchestra, the minimalism is all you get.

A better way to approach Ladies and Gentleman Introducing... is by starting from a familiar reference point like Kid A. Much like that album's more experimental numbers, the Flight Orchestra's compositions seem almost incomplete, as if the group is only giving you part of a much larger idea. Each of the four songs here are like snippets -- as if whoever is the brains behind the band decided to write a song, then focus entirely on one element of what he wrote. Thus, we're treated to a song like opener "Each One Has A Face Only You Have A Name", in which vocals float in and out of the picture for three and a half minutes, backed by sparse beats and glitches. It sounds sort of like a religious mantra; the indeterminately-gendered vocals lilt up and down on a scale that sounds almost Eastern. The vocals follow a similar path on the subsequent track, "The Trip Through The Country Side", though they take a back seat to the rising and falling background noise. "Noise" is perhaps the most apt description here, as the sound is difficult to place, beginning as a harp, then morphing into an obscure tone that's difficult to identify even after repeated listens.

In "_____ _____", the percussion takes centre stage. Hollow beats are transformed into the faint sounds of a ringing cymbal, which in turn give way to a repetitive dance music sample looped against the contrast of the original beat. Conceptually, it (almost) all comes together on closer "Top", the most expansive of Ladies and Gentleman Introducing's four song -- we're treated to vocals, a melody and a beat. However, even with all those elements in place, something seems to be missing.

It might actually be more charitable to suggest that there's something more to these songs -- something that the Flight Orchestra intentionally left out, hoping that listeners would fill it in. This may be reading motives into Ladies and Gentleman Introducing... that simply don't exist, but the more I listen to the album, the more plausible that idea seems, as if the disc's creator wants your experience of the album to be wholly determined by the circumstances in which you listen to it. If this is the case (and I really hope it is), Ladies and Gentleman Introducing... deserves a strong recommendation -- there's something endearing about an album that not only takes into account the fact that no two listening environments will be the same, but relies upon that fact. When crackling speakers and rattling pipes and all sorts of other everyday noises become a part of the equation, the listening experience becomes wonderfully interactive -- and if this is what the Flight Orchestra was trying to do with Ladies and Gentleman Introducing New Sound Additives and Preservatives By..., he (or she, or they) succeeded most admirably. - Splendid E-zine

"Interview with the flight orchestra by Chain DLK"

Chain D.L.K.: Hello!!! Please introduce yourself!
The Flight Orchestra: My name is David Wilson

Chain D.L.K.: How did you get started? Tell us your music stories from childhood! History, bla bla.

The Flight Orchestra: I was a classically trained accordion player from age 6 up until the age of 12. From there, I was so disenchanted with music that I never wanted to utter a note ever again. But around 16, fueled by hormones and angst, I became interested in playing guitar. So I taught myself. From there, I joined a hardcore band (teehee, doesn't everyone as their first?) . That band fell apart. I then learned how to play the drum kit, bass guitar, keyboard/piano, various hardware and software applications; learned/copied recording techniques of the 60s and here I am today. I had no friends, hence a lot of time. THE FLIGHT ORCHESTRA has been so since 2001 in various incarnations, including a bassist and drummer, but that didn't last.

Chain D.L.K.: What are your major influences? What kind of sound are you trying to achieve?

The Flight Orchestra: I would say some of the people who have influenced me to make my sound are Carolyn Hester, Phil Spector, Underworld, John Lennon, The Band, things like that, but the list is far too long for me to write in one sitting. I am inspired by emotive things, art, music, film, etc. I find that trying to be emotive whilst making electronic music presents an interesting and wonderful challenge as my palette is sterile. But that's the trick, isn't it?
I strive to make a "human" sound whilst being an electronic musician. This means that I attempt to interject a human quality to this style in the sense that I give myself the opportunity to play my songs live in different ways every time I perform. I give myself the opportunity to MAKE MISTAKES when I perform. This is massive, as I think much electronic music relies on the fact that it is constant. But when you think about it, what is constant in this world that is true? Aside from birth and death, nothing. So constancy is pretty daunting, in my view, and not that fun. Equally, I try to break free from the stereotype of electronic musicians hiding behind their laptops/gear/ what have you. Personally, I don’t think it's such a bad thing, but all electronic musicians have heard jokes like "oh, are they checking their email back there?" Lame as it is, that is a popular perception and I try to make a personal connection in some way with my audience each time I perform.

Chain D.L.K.: What are your major non-influences (music you hate)?

The Flight Orchestra: I can't say there is any music that I hate, as I respect any artist who tries to make a sound. However, there are things, bands, people that annoy me. But all said entities are aware of my displeasure.

Chain D.L.K.: Projects for the future? New releases?

The Flight Orchestra: I am now finishing my new record "THE MILITARY OF FATIMA". This record is an amalgam of frustration. After going on tour twice last year doing shows in much of the US, I found so many wonderful people who had genuine anger. But they seemed to be unaware of the catalyst of this anger, which in turn frustrated me. Unfortunately, there is a lot to be angry about in America today. Things can be better; that is another major theme of the record. Plus, I am adamantly ANTI-BUSH / anti-right wing / anti-conservative, as there is a lot of anger and fear that fuels those beliefs. From that, you can read whatever you want into the title of my new record. Luckily, I’ve been presented with opportunities to release this record but unfortunately I can't elaborate much on it now...

Chain D.L.K.: Your show is definitely "driving" for being yourself alone on the stage. I like when you jump and dance... Is it your decision to be alone on the stage, or just didn't find the right fellows? Is there a concept behind your music?

The Flight Orchestra: I like irony, as I think every creative person does. Does irony get abused in the indy creative world? Maybe, but irony has a lot to do with the way I present THE FLIGHT ORCHESTRA live. I’ve had a few incarnations of it as I mentioned before, but I think this serves the overall vision the best. As far as how I move, to use the cliché, I just let the music take me. If I feel my audience is paying attention, I will give them something to watch, or I will try to get their attention by freaking out. I do not practice my dance moves, and yes, the stuffed LION is a major part of my show; even if i wave him around or not, HE MUST BE THERE, otherwise things will be bad. Conceptually, when I perform, I'm having an unsaid conversation with my audience, hopefully a fruitful one.

Chain D.L.K.: What is the most important thing in your life and the least important? (Each of you answer separately!)

The Flight Orchestra: Most important-- balance / caffeine. Least important-- money / cynicism

Chain D.L.K.: Is there anything you would like to say that was not in a ques - Chain DLK

"Review emultorEP 2004 by Splendid"

At first, EMULATORep2004 was a disappointment. Sure, the EP unveils a broader, more expansive sound than The Flight Orchestra's previous album, Ladies and Gentleman Introducing New Sound Additives and Preservatives By The Flight Orchestra. Yes, it shows how much Flight Orchestra mastermind annienomus (who has now added "wilson, david N" and "L-1011" to his/her/their/its list of pseudonyms) has grown as an artist, moving beyond minimalistic beeps, glitches, and blips into full-blown compositions. Still, there's something about EMULATORep2004 that makes it feel like a stab at broader acceptance.

In contrast to Ladies and Gentlemen..., which featured intractable song titles like "_____ _____" and "Each One Has A Face Only You Have A Name", the group's new material is positively poppy, with human-sounding vocals and identifiable instruments. Opener "Stranger", for instance, is fairly straightforward psychedelic pop -- there are many layers of vocals, sounds, samples and other electronic artefacts, but there's also a very conventional chorus. Similarly, "The Truth of All Times" recalls '90s one-hit wonders Cornershop, with a combination of beats and vocals that are clearly indebted to Indian tradition. And consider "Home", which could be classified as laid-back, downtempo chillout music, despite the random time signature change at the song's midpoint. Mind you,nothing on EMULATORep2004 stands a snowball's chance of getting The Flight Orchestra on the radio, but it's still a decisive step away from the IDM oddness of his/her/their first album.

True, "Dubz and Cornerz and Starz" brings the weird -- it plays backwards for a while, then abruptly switches gears and plays through properly (albeit in a way that sounds as if annienomous recorded him/her/itself singing backwards, then added that vocal to an otherwise-backwards song) -- but when three out of four songs approach something resembling convention, it's hard not to wonder if The Flight Orchestra are pandering to a broader audience.

This, of course, is the wrong reaction to have to EMULATORep2004, and it's entirely unfair to annienomous. Rather than being castigated for changing sounds, she/he/they should be celebrated for building on Ladies and Gentlemen Introducing... without compromising that album's quality. Few artists can change sounds so completely, but still make compelling, listenable music. Whatever their sound, The Flight Orchestra are a talent worth watching -- though it's clearly going to be a challenge just keeping up with them. - Splendid

"Interview with the flight orchestra by Video Game Music 4 All"

My name is David Wilson.

Band Name:
I make music under the name: The Flight Orchestra.

Where did you get the idea for your band name?
Every band I've ever been in, the name had something to do with flight. And, I make a little joke about calling this, The Flight Orchestra, as I make the music myself, and usually perform as one person. I am scared to death of airplanes, but after touring a few times these past few years, I am somewhat cool with flight per se.

Where do you currently reside?
I live in the United States.

What was the first video game console you ever owned? What memories do you have with it?
Hmmm, going way back...... maybe Commodore 64? An Atari, then Turbo-Grafx 16. Then of course NES.

What is your favorite video game soundtrack? Why?
Katamari Damacy! And We Love Katamari! Two excellent soundtracks to couple two wonderful games.

What is your favorite video game? Why?
Tough one, so many wonderful games....
The Katamari Damacy series is wonderful. All-Star Baseball 2005, I played along with the real Dodgers for an entire season (yikes, not proud of that)! Metropolismania, excellent quirky little game that I still play every once in a while. I must say my favorite developers are Namco, Square-Enix, Konami, Natsume, and of course, Nintendo.

What type of music besides video game music is most influental to you?
Music that inspires me right now, The Bad Plus , Elijah B Torn , Wu Tang Clan , the Deftones..

When did you first start making video game related music?
I can say that I was exposed to video game style music through my club Dataage in Los Angeles. (I manage the club along with my friend Octavius). At dataage, people like 11Hz Robot, 8-bit Weapon, 2 Playa Game, and 8 Bit would use video game sounds to compose songs and it has been very inspirational to me in creating my own music.

What instruments and electronics do you use to make your music?
I play all the "rock" instruments; drums, guitar, bass guitar, keyboard, sampler.
I also do a lot of sampling

Any advice to other people trying to make it in this genre of music?
Stretch your sound as much as possible! If you recognize a sound, chances are someone else has made it first. So go that extra step to make your own sound! Be fearless, create out of love for art and never let a cynic's opinion damage your desire!
Also, You don't need a "band" to deliver a powerful live performance! Get your laptop, scratch up a live set with Ableton Live and get your ass out there!!! No excuses!
I'll see you at the club. - Video Game Music 4 All


is released
September 2007 via Breathing Room Records.

previous DIY
- Emulator EP
- Ladies and Gentleman introducing new sound additives and preservatives by The Flight Orchestra


Feeling a bit camera shy


Flight Orchestra, born circa 2002 in Los Angeles California from David Wilson after he begged the band Arlo (then on Subpop) to take him on tour.

They agreed, Wilson packed his sampler and keyboards and played for anyone that would listen.

Upon returning to Los Angeles, Flight Orchestra formed up and performed regularly as a duo and sometimes trio. Then further were fortunate to share various stages with the likes of the Breeders , Ozma , Electric Eel Shock and many within Los Angeles' hard working and prolific indie music scene.

During this time, Flight Orchestra began to carve his distinct sound.

In 2004 after arranging a "Drawing Straws Event" that pitted 12 bands in one room for an evening and required them to draw straws for the order of performance, he invited and struck a friendship with Octavius, who Flight Orchestra would go on to facilitate Club DATAAGE, a seminal club event based in Chinatown, Los Angeles.

Since 2004 Flight Orchestra has toured United States 3 times and has been a regular fixture in a newly formulated music scene dubbed by its supporters as the "Dataage Scene".

In the past Flight Orchestra has had the distinct pleasure to perform with Thomas Fehlmann of the Orb , edIT , Elijah B Torn , Daedelus , Tehn , Fiction Company , 8 Bit Weapon , Nosaj Thing , BackTednTed, Addicted2Fiction , 11hzRobot , Yip Yip , Alto Clark , Treewave , EMIS , Mochipet , Machinedrum , with IComp , Droid Behavior , Electroinc Sub South , They Control Us , Quaketrap , and Daly City Records crews, and further a cast of many, many, many talent others. Flight Orchestra also has the distinct honor of being one of Los Angeles art collective Hangar 1018's "house bands".

In September 2007 Flight Orchestra gives you his first formal record, THE MILITARY OF FATIMA.