Considering the electronica genre is so comparatively young, it's something of a rarity to see artists release a greatest hits album. Of course the fraternal duo that makes up Orbital wouldn't be caught dead putting such a label on a product they're endorsing – they're much too modest.

Instead, Brits Phil and Paul Hartnoll call this a "retrospective collection" of singles and title it Work 1989-2002, because after all, producing dance tracks can qualify as a day job if you're as talented as these guys. And even after six successful albums, you'll never catch them bragging. Paul once said, "Our best work comes from trying to copy other people and getting it wrong."

It makes you wonder, then, whom they were copying in 1989 when they recorded "Chime" on what they called their father's "really shitty equipment." The song, an addictive, melody-driven experimentation in electronic instrumentation, put Orbital on the map and became a mainstay on compilations from that point forth. It also established one of the most distinctive sounds in dance music, an easily recognizable implementation of mid-tempo synths with various key loops – a style the brothers have yet to abandon.

That's not to say their tracks are homogenous – and nothing will make that clearer than a listening of Work. Their songs, like their melodies, bounce all over, from techno (ok, mostly techno), to house to simpler breakbeats. While a song like the vivacious "Impact" may strike a few similar chords to "Chime," its feel is unique but its tone is familiar. "Style" begins as an ambient downtempo track before accelerating into ambient techno mode, and low and behold manages to capture Orbital's trademark riffs.

Though the Hartnolls typically favor sampling female vocals, "Illuminate" features David Gray, who ditches his acoustic guitar to croon over a terrific beat. The collaboration works, but in a weird sort of John Fogerty-does-techno way. The same can't be said, however, for Orbital's pairing with Metallica guitarist Kirk Hammet on the somewhat frightening "Satan Spawn" (a rehashing of "Satan," one of the group's most electric songs performed live). The devil-friendly ode doesn't exactly lend itself to the affectionate rave atmosphere, unlike most of their work. Carrying a much more amiable message is "Choice," which reminds listeners to question the establishment and decide between "peace and annihilation."

Like so many techno masters, it's quite possible Orbital's best work (besides "Chime" of course) comes bearing the lyricism of some lovely ladies. On the enjoyably choppy "Nothing Left," we don't get much more than "ooohs" and "ahs" but sometimes such background vocals can be most powerful instrument. "Halycon" features vocals more prominently, and it turns out to be one of the hardest-hitting, most euphoric tracks on the collection. But "Frenetic," the only newly recorded number, sounds much too radio-friendly.

Work is a gift not only for its fans, but also for anyone who appreciates dance music and may have missed the boat. Orbital's influence on continually emerging acts like The Chemical Brothers and Underworld was never so crystal clear, and after this album makes it's way around the circuit, it's not likely anyone will forget.

Kevin Polowy