"Push The Button, their 2006 release, presented a more mature side of the band."

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2006?

http://www.uk-fusion...t/view/1661/31/

Hope you rate it rather than hate it. Yes, I did write it.

YOU ALREADY POSTED THAT SHITTY REVIEW LIKE 100 TIMES FUCKING SPAMMER!

My review:

If you think there's been a better album released by anyone since Surrender, you're retarded.

End Review.

What a wonderful review!

I think it really sums up everything you need to know about the album!

Indeed, it did. Stash, you hit the nail once again.

I don't think about music. I just don't.

It's like porn. I can't give you a strict definition of what porn is, but I know I like it when I see it.

Physically or mentally? :lol:

Lots of review links at Metacritic:

http://www.metacriti...s/wearethenight

Most of the reviews posted earlier were from metacritic....at least the ones I posted...

I cannae be ersed to 'review' cos every time i see them live is an event, What i will add is the differance between venues if we is talking live, everything was more relaxed in Amsterdam, A whole new slant on the new tracks.

I reckon We are the night is class, cannae be fecked to over analize the beats only happy to be kept going with fresh new toons.

Glasgow at the end of the year will be the last piece of my 2007 Chemy jigsaw and then I will evaluate :-)

Maybe nat construtive but who are we to judge

Slant Magazine:

http://www.slantmaga...iew.asp?ID=1159

"Riz Ortolani"? the sample in the title track is Bill Bisset... any review that can't get the facts right scores an instant 'FAIL'

So far the Bros have it good on Itunes...4 1/2 stars on average user reviews...I mean I know this does not count as a "review" per se, but, it will probably show indicators of what the general public reaction is...I really want this album to do somewhat well, so the Bros. don't even consider quitting anytime soon...

Review by Spence D. for IGN:

"July 17, 2007 - Those expecting Tom Rowlands and Ed Simons to continue updating their big beat attitude might best be served by looking elsewhere. This, their sixth studio effort, is more of a down-to-mid-tempo affair that mines the outer realms of futuro disco and New Wave flashback than anything the duo has done previous. In many ways it plays out as a mellower extension of 2005's Push The Button, yet it other ways it's a much deeper offering that yields refreshingly new elements with each repeated listen.

As with Push The Button The Chems have enlisted a diverse array of guest vocalists to aid in their quest for electronic expansion. Granted they've worked with a host of intriguing voices throughout their career (Noel Gallagher, Beth Orton, Hope Sandoval, Bernard Sumner, Q-Tip, Richard Ashcroft, Kele Okereke, and more), but here they seem to tip the scales in favor of head-scratching collaborations. In many ways the duo feel as if they're channeling more of a William Orbit or even Orbital sensibility with a wee bit of Never, Never Land period UNKLE than anything else. For the most part things are stripped down and relegated to an overriding whirl of repetition.

For example, repetitive tinkling jitters of sound percolate through the album's first bona fide number, "We Are the Night," which features the title repeated in a monotone inflected mantra that becomes hypnotically soothing as the track slips past the 5-minute mark. In many ways it seems that the lads have realized that repetition is the key to it all, allowing the undulating electro gyrations to bounce around one's cerebral cortex with pervasive intensity. To wit, a Kraftwerkian download exacerbates "All Rights Reserved," which features The Klaxons and Lightspeed Champion delivering yet another mantra motif similar to the title track, but this time over more eclipsing beats.

"Saturate" is like a Daft Punk track if performed by a high school garage band: the drums rippling through scintillating synthesizers with rabid kineticism. Shuffling repetition propels "Do It Again," featuring Ali Love chanting, cooing, and whooping "let's turn this thing electric" over and over and over until it becomes a rote rattle inside of your melon. Then just when you have that line memorized he flips into another chant: "oh my god, what have I done?/all I wanted was a little fun/gotta brain like bubblegum/blowin' up my cranium…" The Egyptian Lover on codeine beat that backs it up keeps things locked down tight making for incredibly catchy electro pop that is like Devo having brunch with 1999 era Prince.

Soul claps lay down the basic rhythmic pattern for "Das Spiegel," which also features wurgled synth that surges and squirms its way through the instrumental track. When what sounds like treated melodica kicks in, the whole affair gains a strangely detached electro psychedelic folk feel, if such a thing can exist. If that weren't enough of a dome tweaker, then you need to brace yourself for "The Salmon Dance." Featuring the verbal skills of The Pharcyde's Fatlip, this track is bugged out beyond belief. That Fatlip attempts to introduce a new dance based on the omega3 rich fish while also including some educational elements doesn't help matters much. In many ways it sounds like a De La Soul number, in terms of Lip's cadence and delivery. Musically it's more of a Prince Paul brain fart than anything else. That's a good thing by most standards, though.

Tom and Ed return to scintillating electro surge on "Burst Generator," the album's second 6-minute-plus ditty that's rife with layered guitars that build into a buzzing crescendo of white noize incrementally. It's hypnotically abrasive. Inner city samba stylings decorate "A Modern Midnight Conversation," which quickly turns into a late '70s/early '80s jazz fusion-cum-Latin electro pop blitz. The guys employ what sounds like generous amounts of oscillated keyboards which flange and twinge amidst the clanking coke bottle beats.

Rolling bones of synthesized bounce keep "Battle Scars" aloft, one of the few tracks that sounds lifted directly from the post New Wave-neo-Goth period of British music (think Sisters of Mercy crossed with David Bowie with a dash of Gavin Friday tossed in for good measure). You can chock this up to Willy Mason's guttural monotone, which saturates the track with a sense of warm dread. "Harpoons" returns to the strange oscillation, though this time the effect comes off more like whale mating calls filtered through the vacuum of space.

Midlake's Tim Smith delivers a delicate vocal styling on "The Pills Won't Help You Now," which seems like a lucid dream conjured up in the wake of too much alcohol and valium. The track drifts along with maudlin detachment that wavers between being purely somnambulistic and just a simple hazy shade of pale. What's not up for debate is the hauntingly beautiful frailty of the whole thing, thanks in large part to Smith's almost angelic crooning and the Chem's drifting synthetic soundscape.

The album concludes with "Seal," featuring the vocal stylings of Juana Molina. Again the duo retreat into mock tribal ambiance, utilizing hollow drum sounds and syncopated rhythm blips. When you add in the twisted and sultry scat vocals of Molina, the whole affair gains an effervescently futuro jazz vibe.

We Are the Night is one of those albums that requires repeated listens to actually begin to reveal all of its intricacies. At casual glance it's all too easy to dismiss it as just another mid-tempo rehash of the duo's previous outings. However, buried underneath the outer layers is a richly detailed romp through various urban (and suburban) neighborhood musical scenarios. The album makes designated stops at a metropolitan gay disco, revisits The Good Life microphone soirees, dips into the barrio for a little street corner rhythmic interlude, stops off at a dilapidated '80s New Wave club, and so forth. Yet what really makes this album a success is the simple fact that it unfolds like an album should. The moment you press "play" things begin to flow with an effortlessness that is all too scarce these days. That it includes appropriate high points and lulls throughout insures that you're emotional journey will be one of complete bliss. In this way the album works at any time of the day, though my money, in terms of optimal effect, is on listening to it in the extremely late hours of the night and the wee hours of the next morning. Headphones highly recommended, too."

http://music.ign.com...5/805788p1.html

^ Nice review. I really like the summarization in the last paragraph. That bit about how the album unfolds like an album should is something I feel to be very true about We Are The Night. It keeps getting bigger and bigger, more things revealed in each listen (especially on headphones, I am being serious, I haven't listened to an album on headphones this much since the old cassette walkman days of the 80's). Spot on regarding highs and lows and the emotional journey the album sets you on.

From Billboard.com:

http://www.billboard...fea103fe35d98b9

1. 
   

   Jeff Vrabel wrote:
   
   The Chemical Brothers certainly have their formula, but nearly 15 years on, their mix of rock-show beats and accessible synthetics remains a pleasing one. The Brothers have never strayed far from the rock'n'roll foundation that supports their best beats, but when this sixth CD opens with a cataclysm of "Transformers" noises, it signals a record that's a little more unapologetically electronic than their previous ones. The title track and hit first single "Do It Again" are born of the same hypnotic, churning code that the Brothers have been writing for years, but they also leave themselves space to plant little seeds of folky melody into their songs' mechanical exoskeletons on the oddly moving "Das Spiegel" and the epic "Burst Generator." They also score bonus points for employing rapper Fatlip to lay down vocals on the ridiculous and fully engaging "Salmon Dance." —Jeff Vrabel