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new chemical brothers album and tour

Discussion in 'TRIBE Main Forum' started by ndrwrld, Mar 21, 2007.

  1. kate manus

    kate manus TRIBE Member

    Just scored tickets to the Chemical Brothers show here in Amsterdam at Heineken Music hall end of june.. really looking forward to it :)
  2. mandapanda

    mandapanda TRIBE Member

    i really like "do it again". and i get to see them at bestival in sept! yay!
  3. Not a fan of this album. Shit.
  4. sianspherica

    sianspherica TRIBE Member

    The new album is a very disappointing clue that they seem a bit creatively and musically.....past their peak.

  5. ndrwrld

    ndrwrld TRIBE Member

  6. The Truth

    The Truth TRIBE Member

    likely the same vids from ^^^ but here's the Youtube versions for the lazy people like me

    All pro-shot from BBC


    Pt 1 Do It Again, Hey Boy Hey Girl

    Pt 2

    Pt 3 Out of Control, Dont Fight

    Pt 4 Electronic Battle Weapon 8, Star Guitar
  7. Chris

    Chris Well-Known TRIBEr

    There Toronto tour in the 'Sauga with Oakenfold was sensory overload, thats all I have to add, and havent heard the new album.
  8. sweetdaddy

    sweetdaddy TRIBE Member

    i have to say that i like the new album right now.

    ok...but i also dont judge electronic acts on how "not like they used to be" they are.

    i think WE ARE THE NIGHT is a pretty nice album to play, start to finish, when you are lounging around and just drinking and what not.

    i also thought SURRENDER was the first truly complete album they made....and SOOO MANy people are gonna argue this and say it was their first big mistake.


    i like the new album alot....i thought this is what they tried to do with PUSH THE BUTTON and failed at (although push the button has it's moments too)
  9. soulbrother 10

    soulbrother 10 TRIBE Member

    I listened to this album last night from start to finish for the first time. Will need to hear it again a few more times before making a judgment, but on first listen I liked what I heard. By the way, I agree that 'Surrender' is a brilliant record and that 'Push the Button' was a disappointment.
  10. zoo

    zoo TRIBE Member

  11. Lurker

    Lurker TRIBE Member

    Kate and I saw their show this past Friday here in Amsterdam, and it was really solid.

    Lots of old hits, plus some new stuff.

    My only complaint was that they only played for around an hour and a half, and the end of their set just fizzled and the lights came one. Not sure if there was more to the story though since we were near the back.

    Great animations and mighty tunes for sure though.
  12. sweetdaddy

    sweetdaddy TRIBE Member

    the pitchfork review is so full of shit.

    not that pitchfork is ever really on teh money (they say the new DIGITALISM album is the greatest electronic album of the past 10 years)....but this Chemical Brothers review is simply garbage (and not just because i disagree with them, but because they are looking at music in all the wrong ways).


    The Chemical Brothers
    We Are the Night
    [Astralwerks; 2007]
    Rating: 3.8

    It's going to take another few years, a lot of nostalgia, and even more critical evangelism for the Chemical Brothers to be recognized as one of the most all-around consistent acts of the 1990s. More than a decade after the release of their debut album, 1995's Exit Planet Dust, they remain inextricably tied to Big Beat electronica, a genre that had already fallen out of fashion by the time the tech bubble burst. Since most of America's hopes for so-called "electronica" were pinned on a cynically marketed next-big-thingism, its chart failure has tended to overshadow everything else-- including a fair critical appraisal, as Salon's Michelle Goldberg demonstrated in a pan of the Chemical Brothers' 2002 album Come With Us: "Commercially, the mid-to-late-90s conceit that electronic music would wrest the airwaves from guitar rock dinosaurs has proved as fanciful as the idea that online video rental could be a billion-dollar business."

    You don't need to have the Chemicals' Singles 93-03 video compilation in your Netflix queue to question the relevance of that statement: Electronica was a failure as a mass-culture lifestyle trend. But it was successful, too, in one important area: producing memorable pop records. Even in the post-crash doldrums of the early 2000s, the Chemical Brothers sustained their creative stride more effectively than most other artists clogging up the modern rock charts 30 notches above them. Albums like Come With Us and 2005's Push the Button were more pacekeepers than trendsetters, sure, but there was a cohesive freedom to them, a sort of universal dance music catchall vibe that cross-evolved through acid house, electro, hip-hop, and whatever else they could layer big, explosive bass over. Even as their returns began to diminish the further they got from the staggering peak of Dig Your Own Hole, the mild creative downturn wasn't significant enough to damage the overall feeling of optimistic, psychedelic egalitarianism embedded in their music.

    This, though, this We Are the Night-- no, come on, not now. Not after Fatboy Slim's Palookaville and the Prodigy's Always Outnumbered, Never Outgunned and Orbital's The Blue Album and Daft Punk's Human After All and the last two Moby records. Just because Tom Rowlands and Ed Simons are falling off the cliff a few years later than most of the other once-great hopes of 90s dance music doesn't make the plummet any less frustrating or embarrassing. Not even the low points on Push the Button suggested they were about to tank this hard.

    On We Are the Night, the Chemical Brothers have switched from integrators to imitators: Where 1999's Surrender opened with "Music: Response", expertly streamlining the cutting-edge electro-funk of early Timbaland, "Do It Again" sounds like a public domain version of a FutureSex/LoveSounds beat, with perky synths and an aloof radio-dance churn gutlessly approximating the elements that make those tracks work. Guest singer Ali Love turns in a mediocre Timberlake impression-- although even JT himself couldn't pull off a dippy couplet like "got a brain like bubblegum/ Blowing up my cranium."

    The album's title track attempts to weave the duo's euphoric buildups and breakdowns into warmed-over Krautrock, but with a beat that never crests, its dynamics are left to a weakly kitschy Perrey-Kingsley melody, damning the track to 6 1/2 minutes of a rickety retro-future parody of the 360-degree treadmill from 2001. "Das Speigel" is an ill-advised stab at minimal house-- have the Chems ever even attempted to pull off minimal anything? -- and after layering on enough electronic giggles, squeals, melodicas, guitars, and extraneous sound effects to a briefly-promising groove, it turns out sounding like something from side 6 of Booka Shade's Sandinista!.

    Other autopsies of this album might pin its weaker moments on the guest spots, but those mostly just make an already-bad situation moderately worse. "All Rights Reversed" would still sound like groggy emo if they got somebody besides the Klaxons to mutter close-harmony vocals over its inflated theatricality. It's probably for the best that "Battle Scars" wasn't given to a better singer than Willy Mason: His head-trauma Gordon Lightfoot vocals and the sub-Rod McKuen lyrics ("There's a line in the sand/ Put there by man/ By man whose children built up castles made of stone") are perfectly suited to the track's tedious, xylophone-laden indie sleepwalk. And while there's been a well-earned avalanche of derision aimed at Fatlip's dopey nature-doc rap "The Salmon Dance", he had to work with the beat the Chemicals gave him; most MCs, faced with the prospect of rhyming over something Arthur Baker might have concocted after an afternoon of gorging on vanilla-frosted hash brownies and Spongebob reruns, would probably rap about dancing like a fish on crack, too.

    The Chemical Brothers' descent into ineptitude is at least accompanied by a few brief highlights: "Saturate" plays like one of Surrender's acid house throwbacks, complete with Bill Ward-size drums, while "A Modern Midnight Conversation"-- based on a whipcrack cowbell beat and the bassline from Crystal Grass' 1974 psych-disco classic "Crystal World"-- is as euphoric as anything they've done this decade short of "Star Guitar." But those flashes of effortless dancefloor-filling greatness used to be the norm for the Chemical Brothers; as exceptions on an album of colossal blunders, they can only serve as fleeting reminders. I once found it hard to fathom that Dig Your Own Hole was released ten years ago; it's easier to believe now.
  13. G-FrEsH

    G-FrEsH TRIBE Promoter

    i agree....
  14. why not

    why not TRIBE Member

    it's funny, on one hand i can totally agree with the pitchfork review, except that to my ears they pretty much pulled it off (except for the mind bogglingly bad Salmon Dance - what were they thinking?).
    sure, you can hear them dropping nods to everything that's cool right now, but it still sounds decent. i don't really expect them to be breaking new ground, and at least it sounds like they're still listening to contemporary music.
  15. TheLiquidFairy

    TheLiquidFairy TRIBE Member

    Come on Vancouver date!

  16. atbell

    atbell TRIBE Member

    It might be the coffee, but I'm going to agree with everyone except pitchfork.

    Surrender was an extrodinary complete album. So good that I feel no shame throwing it on in a car full of people who wouldn't know why any one would need a second turn table.

    Push the button was a little weak, rather experimental.

    The pitchfork review is just plain bad. They bemoan the new Chemical Brothers album being an imitation, a rehash, and yet they use Orbitals Blue album as a comparison? The Blue Album is much more like Push The Button, a departure from the standard.

    I think I'll have to hear We Are The Night before giving anything more then:
    Vancouver date, Vancouver date, Vancouver date.
  17. ndrwrld

    ndrwrld TRIBE Member

    the last time the Chemical Brothers played the kool haus...
    after the concert was over, my buddy and i ( BOTH LIT UP ) went into this opened door bar area. after a bunch of people came in, they closed the doors.
    we ordered a beer, and talked to everyone about the gig, blah blah blah...
    In walk Ed and Tom.
    they take a seat against the bar right beside my friend and i.
    ( i think it was ) Ed pulled out a bag of weed and proceded to roll a blunt, ordered my friend and i double Heineys, and we proceded to smoke up, and talk music and stuff.

    i just found out that the guy who lives in my house, on the top floor, supplied said bag o' green to the Chemies, personally.
    good times.
  18. gsnuff

    gsnuff TRIBE Promoter

    You should write a review of their review! I would love to be instructed on all the right ways to look at music.
    Last edited: Jul 6, 2007
  19. sweetdaddy

    sweetdaddy TRIBE Member


    i aint getting baited into that.

    granted, i may have used a statement that was too heavy and over-reaching to make my useless point....but perhaps you should read the article and maybe my little comment (which taken as it stands is of course debatable) and maybe in context you will see what i mean.

    i guess i was just upset that an album can be criticized in so many harsh ways, which to me were all reaching...("das speigel is no good because it reminds the reviewer of some random booka shade song"?????....seems a weird reason to think a song sucks). i mean, DAS SPIEGEL is a nice song...
    and I also dont like when critics judge an album by it's artists previous works???....there are many reasons why that is odd. (one can say "i like the older stuff more"...but come on, judge the new stuff for what it is, not what it isn't....- and we all know that if CHEMICAL BROTHERS released al album that sounded exactly like DIG YOUR OWN HOLE, it would get ripped for being too much like the old stuff).

    3.8/10 ??????? if you are gonna rate it that low, and least have some decent reasons why.
    Last edited: Jul 6, 2007
  20. gsnuff

    gsnuff TRIBE Promoter

    I did and I still didn't understand your comments, hence the prodding.

    Are you asking me or telling me?

    The point of music writing is to make sense of an artists work in relation to what they have been done before or frame an emerging artist against what is already out there. You should probably not read any music reviews if this fact really bugs you.
  21. why not

    why not TRIBE Member

    to be fair to the pitchfork review, that's exactly what i thought when i heard that song. it's pretty clear that they're intentionally biting that sound.
    the rest of the album is similarly full of obvious references to current hot shit.
    i have yet to read a review yet that didn't notice how much they're pulling from sexy back for that one song (you all know what i'm talking about, but the album's not in front of me).

    i think it's fair that some reviewers would see an album composed mainly of imitations of current trends (and one awful novelty rap song) to be sucky, and if i'd been in a worse mood when i listened to it i would have agreed.

    however, i'm not that guy, and i'm glad that they've ditched big beat and pleasantly surprised that they pulled off their tributes to current dance music trends.
  22. sweetdaddy

    sweetdaddy TRIBE Member

    maybe they are just doing want they want to do and making music they like.
    i like it.
    i dont see any reason to say it's this or that because it bares similarities to other tunes.
  23. ndrwrld

    ndrwrld TRIBE Member

    i like the new album.
  24. ndrwrld

    ndrwrld TRIBE Member

  25. sweetdaddy

    sweetdaddy TRIBE Member

    New Video
    Salmon Dance feat Fatlip


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