Boasting ten tracks, the album showcases ORKA’s idiosyncratic techno sound, ‘bursting with neon-lit hues, pulsating club beats, and an abundance of sensory stimulation that embraces themes of duality, connection and their combined story as artists and performers’, according to a press release.
It’s arguably the most dancefloor-focused album the duo have released to date, and was recorded over a four-year period. It opens with lead single Bird, which was said to be inspired by both their industrial studio surroundings in South London and avian field recordings that never made the final cut.
“We started playing music together nine years ago and played together live for a few years before we decided to start writing together,” Perry and Thomsen commented. “One of the core questions we have tried to answer from the beginning of our work relationship is ‘How do you perform electronic music?’ We have, from the start, reflected on this question and over the years developed a way of arranging and playing electronic music that feels significant and meaningful to us.
“When we play live, we play out everything that the audience hears on the spot, which makes our shows quite intense. There is a lot at stake during our sets and we are extremely dependent on each other. If we mess up, you’ll notice.
“When we started writing together, this dependency affected our writing. We were both doing everything at the same time and had our hands in the other’s ideas and parts. We’re pretty sure that there isn’t a single sound on the album that we both didn’t touch or change at some point.”
The album features artwork by Kirstin Helgadóttir, who combined the pair’s faces to create a composite, blended image.
“Most of all, [the album] is about how we rely so much on each other that we work as one, as one entity. This is captured perfectly in the album artwork by Kirstin Helgadóttir. We took photos of our faces and Kirstin merged them into one fluid being which is both of us and neither of us at the same time.
“Our combined face somehow catches the full gender spectrum as well as the full colour spectrum and describes the maximalist, amalgamated milieu in which we created our new record aptly named All At Once.”