William Orbit, the British music producer whose dreamy yet propulsive style invigorated work by Madonna, Blur, All Saints, U2 and more, has died aged 69. This was reported by Qazaqyia.kz citing The Guardian.

A statement on his social media, attributed to family and friends, said he died at home on 23 July. "He will be greatly missed by us and by so many whose lives he touched through his music, friendship and kindness," the statement read. No cause of death was given.

Orbit was most famous for his collaboration with Madonna on her 1998 album Ray of Light: his strikingly original backings, rooted in trip-hop, jungle and techno, marked a new chapter for one of pop's greatest stars, resulting in hits such as Frozen, The Power of Goodbye and the giddy title track. It had multi-platinum sales across the world, won Madonna three of the five Grammy awards she was nominated for in 1999, and has become seen by many as Madonna's single greatest studio album.

But his work stretched far beyond one client, spanning Blur's exploratory, emotionally scarred album 13, All Saints' UK No 1 Pure Shores, Pink's UK No 3 new wave hit Feel Good Time and more. He was credited as a guest artist on the latter, and released a raft of albums and singles under his own name: his electronic twist on Samuel Barber's Adagio for Strings, aided by a trance remix by Ferry Corsten, reached the UK Top 5 in 1999.

Success came relatively late for Orbit – at least in pop music terms. He was born William Wainwright in 1956 and raised in north London, the son of two teachers he described as "decidedly working class and poor … they'd struggled to become middle class". He left school at 16 and became what he described as a "post-hippie", living in a squat, doing occasional low-paid labour and, by his recollection, consuming "a Mars bar and an acid tab a day".

In 1980 he formed the electronic/ambient trio Torch Song with Laurie Mayer and Grant Gilbert, and were signed to the label IRS, releasing three albums between 1984 and 1987. Well versed in electronic music production after gradually assembling a studio full of digital and analogue gear, he was hired to create the soundtrack to the Rob Lowe and Patrick Swayze film Youngblood, and remixes for pop artists – including Madonna. Wielding hip-house breakbeats and puckish instrumentation, he gave a chirpier cast to her prowling, sexually infatuated early 90s singles Justify My Love and Erotica.

He was now on Madonna's radar, but it would be later in the decade they would work together on original tracks. In the interim, Torch Song released another album in 1995 and he had another successful project, Bassomatic, whose psychedelic baggy epic Fascinating Rhythm hit the UK Top 10. He'd released his solo debut album in 1987, and found acclaim in the 90s with a series of albums with the title Strange Cargo. 1993's Strange Cargo III featured a young Beth Orton on a track; Orbit produced her debut album Superpinkymandy the same year, and went on to remix her single Central Reservation.

Meanwhile, Madonna was struggling to make a new album and redefine herself: she had scrapped sessions with R&B producer Babyface in favour of a search for a new collaborator, and only had a small handful of songs for a new album. Orbit's pedigree meant he was invited by her manager to submit tracks and was hired: "Just hang in there, work on your stuff, get your chops together and eventually you get a stroke of luck," he later reflected. He and Madonna worked up much of the album together in studios in New York and Los Angeles.

"William is a complete madman genius," Madonna said of the Ray of Light sessions. "I'd come to him with an idea of where I wanted to go musically, hum melodies or read lyrics, and then leave him alone in the laboratory. Sometimes he'd go in the direction I wanted and sometimes he'd swerve off somewhere else entirely. We'd end up with trance tracks that were eight minutes long and then keep adding and subtracting until we had real verses and choruses. We really put our noses to the grindstone."

Orbit's astonishing range of sound – heavy breakbeats, acoustic guitars, trance synths and more – was put to use on everything from sweeping ballads to the pell-mell acid house of the title track, re-establishing Madonna's credentials as a vanguard pop star and earning her first non-video Grammy award wins.

Eager not to repeat herself, she switched her core producer up again for her next album Music, to Mirwais, though Orbit was retained for three of its tracks. He also produced two successful standalone Madonna singles which appeared on soundtracks: 1999's Beautiful Stranger, from Austin Powers: The Spy Who Shagged Me, and her 2000 cover of Don McLean's American Pie, from The Next Best Thing (which she also starred in). Orbit returned for her 2012 album MDNA, co-producing six of its songs. Earlier this year, Orbit said: "I will always love that woman. For real. She made my career."

The late 1990s were a hugely industrious period for Orbit. In 1999, he released Pieces in a Modern Style, an album of classical reworkings including his successful take on Samuel Barber (an earlier 1995 version had been deleted from sale after an objection from composer Arvo Pärt).

1999 also saw the release of Blur's album 13: similarly to Madonna, Blur wanted to reinvent themselves after five albums with producer Stephen Street, and had been impressed by Orbit's earlier remixes of their work (collected on the album Bustin' and Dronin').