I can't wait to hear The Duke and Delik. Can anyone describe these tracks ?
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Can't hardly wait !!!
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Posted 29 September 2003 - 6:31 PM
FROM BBC.com
Ten years of dust and chemicals.
As Tom and Ed release an impressive collection of singles from the past ten years, we asked our music contributors to wander down the track list for you. We also hooked up with award-winning sleeve designer, Kate Gibb, to take us through her most memorable Chemical singles covers.
see kate gibb's artwork gallery > http://www.bbc.co.uk...hemicalbrothers ( BE SURE TO CHECK THIS OUT FOR GREAT COMMENTERY)
Song To The Siren
This track really turns you on to the Chemical Brothers. It?s somehow intimate, with all the backwards vocals and synth wash, yet thunders along with a heavy moog shunt. An exciting step for electro, but a hint of the overblown records to come. James Rutledge
Chemical Beats
When, seemingly, the whole world and his dog was dancing till dawn to 120bpm house music, along came this drugged-to-the-eyeballs slowie, and people still danced, albeit? slower. A filthy, sluggish synth squelch, relentless wood-block percussion and a rude, orgasmic ?urgh? vocal made this a dark winner with ravers. For me, it's their only epic groundbreaker. Stuart Turnbull
Leave Home
I entered the crusty record shop in my hometown and tried to sing Leave Home to the man behind the counter. ?It kind of goes wa-wah, wa-wah and there?s a line they keep repeating about a brother walking about, or something." Such was the power of Leave Home. It introduced a whole new world of bleeps and beats to miserable teenage indie spods like me. Nadia Shireen
Setting Sun
If the apocalypse had a soundtrack it would be this tune. It brims with mystic, Eastern promise and the beats are so fierce they?ll wind you at 30 paces. Oh, and there?s that Noel Gallagher singing over the top. It remains the last piece of music he had a hand in that wasn?t absolute shit. Kim Taylor Bennett
Block Rockin? Beats
The fact that it won the Grammy for Best Rock Instrumental indicates the difficulty the mainstream had when classifying the noise the Chems were making. Not that they cared, cruising to the top of the charts on the best bassline of their career ? courtesy of 23 Skidoo. Paul Clarke
The Private Psychedelic Reel
A ?psychedelic? title is never a good sign, and beginning with sitars is ominous indeed. But just as you?re waiting for nose flutes and ethnic chanting, those drums explode in the brain and, like all the best trips, the world never seems quite the same after you?ve come down. Paul Clarke
Hey Boy Hey Girl
Starting with a persistent, mosquito-like whine and those oh-so-familiar lines sung over and over, The Brothers somehow eschewed stale repetition and created four-and-a-half minutes of dance magic. Late 90s clubbing in a nutshell: boys, girls, beats and the now redundant fascination with the superstar DJ. Kim Taylor Bennett
Let Forever Be
For me, this was the point where the Chems fully left the indie-dance moniker behind them and entered the mainstream consciousness. Number one, complete with a clever video (girl and mirrors) and Mr Gallagher borrowing some credibility once again. The best kind of pop music. Alastair Lee
Out Of Control
Just like DJ Hell's International DeeJay Gigolos were doing in their Bavarian bedrooms, the Chemicals revived Giorgio Moroder's dancefloor-friendly arpeggiated bassline. Nice. Add a bit of New Order, in the shape of their Italo-disco-loving vocalist Bernard Sumner, et voila. A classy slice of driving, pumping Euro from two English geeks. Stuart Turnbull
Star Guitar
Strange they chose this and not the altogether beefier and better It Began In Afrika from Come With Us. For me, the phased swirling guitars and big house beats seemed to be pulling in different directions. It lacks the oomph you usually expect from Tom and Ed. Alastair Lee
The Test
Chemical Brothers by numbers, this. A moody intro, a sprinkling of wibbly psychedelia, a nasal delivery from Dicky Ashcroft chanting another meaningless mantra. Yet it all makes sense as you bounce alongside thousands of other sweaty people who believe for a few minutes that Tomorrow Never Knows didn?t happen and this is IT. come. Nadia Shireen
Get Yourself High
Debuted at Glastonbury this year, this tech-funk assault featuring Canadian rap artist K-OS is more minimal and groovy than previous epic numbers. It?s a welcome return to proper booty-shaking beats and analogue bass squelches that actually make you want to dance. Alastair Lee
The Golden Path
Forget vacuous adrenalin-soaked stormers. Written specifically for The Flaming Lips? Wayne Coyne, The Golden Path is a glorious throbbing psychedelic journey that shifts from wonder to fear as flutes and synths clash deliciously. Genius. Alexia Loundras
Ten years of dust and chemicals.
As Tom and Ed release an impressive collection of singles from the past ten years, we asked our music contributors to wander down the track list for you. We also hooked up with award-winning sleeve designer, Kate Gibb, to take us through her most memorable Chemical singles covers.
see kate gibb's artwork gallery > http://www.bbc.co.uk...hemicalbrothers ( BE SURE TO CHECK THIS OUT FOR GREAT COMMENTERY)
Song To The Siren
This track really turns you on to the Chemical Brothers. It?s somehow intimate, with all the backwards vocals and synth wash, yet thunders along with a heavy moog shunt. An exciting step for electro, but a hint of the overblown records to come. James Rutledge
Chemical Beats
When, seemingly, the whole world and his dog was dancing till dawn to 120bpm house music, along came this drugged-to-the-eyeballs slowie, and people still danced, albeit? slower. A filthy, sluggish synth squelch, relentless wood-block percussion and a rude, orgasmic ?urgh? vocal made this a dark winner with ravers. For me, it's their only epic groundbreaker. Stuart Turnbull
Leave Home
I entered the crusty record shop in my hometown and tried to sing Leave Home to the man behind the counter. ?It kind of goes wa-wah, wa-wah and there?s a line they keep repeating about a brother walking about, or something." Such was the power of Leave Home. It introduced a whole new world of bleeps and beats to miserable teenage indie spods like me. Nadia Shireen
Setting Sun
If the apocalypse had a soundtrack it would be this tune. It brims with mystic, Eastern promise and the beats are so fierce they?ll wind you at 30 paces. Oh, and there?s that Noel Gallagher singing over the top. It remains the last piece of music he had a hand in that wasn?t absolute shit. Kim Taylor Bennett
Block Rockin? Beats
The fact that it won the Grammy for Best Rock Instrumental indicates the difficulty the mainstream had when classifying the noise the Chems were making. Not that they cared, cruising to the top of the charts on the best bassline of their career ? courtesy of 23 Skidoo. Paul Clarke
The Private Psychedelic Reel
A ?psychedelic? title is never a good sign, and beginning with sitars is ominous indeed. But just as you?re waiting for nose flutes and ethnic chanting, those drums explode in the brain and, like all the best trips, the world never seems quite the same after you?ve come down. Paul Clarke
Hey Boy Hey Girl
Starting with a persistent, mosquito-like whine and those oh-so-familiar lines sung over and over, The Brothers somehow eschewed stale repetition and created four-and-a-half minutes of dance magic. Late 90s clubbing in a nutshell: boys, girls, beats and the now redundant fascination with the superstar DJ. Kim Taylor Bennett
Let Forever Be
For me, this was the point where the Chems fully left the indie-dance moniker behind them and entered the mainstream consciousness. Number one, complete with a clever video (girl and mirrors) and Mr Gallagher borrowing some credibility once again. The best kind of pop music. Alastair Lee
Out Of Control
Just like DJ Hell's International DeeJay Gigolos were doing in their Bavarian bedrooms, the Chemicals revived Giorgio Moroder's dancefloor-friendly arpeggiated bassline. Nice. Add a bit of New Order, in the shape of their Italo-disco-loving vocalist Bernard Sumner, et voila. A classy slice of driving, pumping Euro from two English geeks. Stuart Turnbull
Star Guitar
Strange they chose this and not the altogether beefier and better It Began In Afrika from Come With Us. For me, the phased swirling guitars and big house beats seemed to be pulling in different directions. It lacks the oomph you usually expect from Tom and Ed. Alastair Lee
The Test
Chemical Brothers by numbers, this. A moody intro, a sprinkling of wibbly psychedelia, a nasal delivery from Dicky Ashcroft chanting another meaningless mantra. Yet it all makes sense as you bounce alongside thousands of other sweaty people who believe for a few minutes that Tomorrow Never Knows didn?t happen and this is IT. come. Nadia Shireen
Get Yourself High
Debuted at Glastonbury this year, this tech-funk assault featuring Canadian rap artist K-OS is more minimal and groovy than previous epic numbers. It?s a welcome return to proper booty-shaking beats and analogue bass squelches that actually make you want to dance. Alastair Lee
The Golden Path
Forget vacuous adrenalin-soaked stormers. Written specifically for The Flaming Lips? Wayne Coyne, The Golden Path is a glorious throbbing psychedelic journey that shifts from wonder to fear as flutes and synths clash deliciously. Genius. Alexia Loundras
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Posted 29 September 2003 - 7:01 PM
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Pitchfork review
Chemical Brothers
Singles 93-03
[Astralwerks; 2003]
Rating: 7.8
Few artists have suffered as much guilt-by-association in the past decade as the Chemical Brothers; they've been derided as simpletons for spawning the now-mostly-unloved big beat genre, recording with Noel Gallagher, and unwittingly earning a spot among the U.S. media's leading faces for 90s "electronica." Some dance purists sneer at their lack of a traditional floor-filling build and release (they more often opt for a highlight-reel approach instead) and their tendency to exalt their collaborators at the expense of the crowd. But, while it's true the duo's key to success was their tendency to borrow heavily from rock's immediacy and penchant for noise, their rock/dance interface did seem a fresh and natural progression of dance music's mid-90s evolution.
From their roots in Manchester's Acid House days, the duo's clear talent lied in the combination of hip-hop's urgency with the crowd-pleasing peaks of house and techno. Innovation never seemed as much a priority for them as repeatedly striking a listener's pleasure zone-- though, to be fair, there is a more of a sense of narrative and conscious dynamic in their records than can be found in those of big beat contemporaries like Fatboy Slim, Propellerheads and Apollo 440. It's unfortunate that Astralwerks has chosen this moment to compile the first decade of the duo's career (mid-90s electronica seems to be in the deepest valley of cultural relevance that it may experience in the next twenty years), but it's a solid collection nonetheless, rounded out with two new tracks: one collaboration with Canadian rapper K-OS, and another with The Flaming Lips.
Presented chronologically, the disc opens with two songs from the Exit Planet Dust LP. "Song to the Siren" and "Chemical Beats", originally credited to The Dust Brothers (the moniker was later ceded to the American production team), sounded something like a hybrid of Public Enemy (mostly due to their pillaging of Bomb Squad riffs and breakbeats) and less effete shoegaze groups, albeit with heavy influence from the Balearic melting-pot. "Leave Home" follows, offering more pummeling sub-bass and homage to old-school hip-hop-- it even contained the prominent B-boy vocal snippet "brothers gonna work it out," doubling as a statement of intent and a reference to their bandname litigation.
"Block Rockin' Beats", the first of a handful of selections from the band's U.S. breakthrough, Dig Your Own Hole, is also peppered with sirens and bass, and while it may have been their most direct hardcore techno/hip-hop crossover, its reliance on repetition and a near-pop song structure made it feel slightly overlong. The buzzing, psych-informed Noel Gallagher collaboration "Setting Sun" borrowed liberally from The Beatles' "Tomorrow Never Knows" and featured screeching guitar and a brilliant mid-frequency breakdown before throwing the listener back into the deep end of sub-bass and breakbeats. Another Beatles-quoting track, "The Private Psychedelic Reel", demonstrates the band's eclecticism, belying its techno roots. So far, so good.
Despite its attempts to move away from pervious sound, the duo's third album, Surrender, was hamstrung by too much recycling: the same guests or types of guests, the same moods, and the same use of soundbyte and dynamics. Here, the Brothers made concessions to their rock stardom and continued to engage with that world in the few ways they knew how-- more textured, atmospheric guitars and drowsy, morning-after vocals. The pedestrian "Hey Boy Hey Girl" lacked their usual big drums and obvious hooks, which would be fine were its vocal sample stronger. Compared to some of Surrender's more house-oriented and delicately textured tracks-- such as "Music: Response", the delightfully minimal "Got Glint?", and "Under the Influence"-- "Hey Boy Hey Girl" was an electro-house snore. The Balearic, almost filter-disco feel and Bernard Sumner vocals of "Out of Control", however, are a welcome addition here, as is "Let Forever Be", which, despite the duo's decision to fly in the drum track from "Setting Sun" and to feature another over-stretched vocal from Noel Gallagher, was ultimately a more sophisticated offering than its predecessor.
2002's Come with Us was coldly received by the public and critics, and the songs featured here fail to make a solid case for reconsideration. "Star Guitar", the collection's most rave-oriented track, doesn't leave much of an impression, but may as well be Beethoven's 9th next to the Richard Ashcroft collaboration "The Test". Opening with a bit of "Papua New Guinea"-like tribalism, the song is ground to a halt by Ashcroft's flaccid shaman act and ponderous drug lyrics. The song is simple hippie bullshit, a deserved companion for Fatboy Slim's equally wretched Jim Morrison-quoting "Sunset (Bird of Prey)".
The duo's new collaboration with K-OS raises the question as to why, when hip-hop has so obviously informed their music, they'd never before teamed with an emcee, even while K-OS' lyrics and delivery are somewhat wanting. The Flaming Lips collaboration "The Golden Path", meanwhile, features a bouncy Pet Shop Boys beat over which Wayne Coyne employs what is essentially his natural voice for most of the track before drifting into his more recognizable affected falsetto. Unfortunately, like Ashcroft, Coyne seems to prefer play-acting to making a positive contribution, and his stream-of-consciousness good-vs-evil dialog is detrimental to the track's staying power.
Though one could easily be misled by its title, this compilation doesn't purport to be a complete collection of The Chemical Brothers' singles, Among the missing are "Loops of Fury", inexplicably relegated to being the highlight of the album's limited-edition bonus disc, which offers eleven B-sides, mixes, and rarities as extras. Additionally, the disc features a live version of the also regrettably omitted "Elektrobank", as well as the "original version" of Come With Us highlight "Galaxy Bounce", and B-sides such as "Morning Lemon" and "If You Kling to Me I'll Klong to You".
So like many career-spanning collaborations, Singles 93-03 sacrifices quality control for a democratic approach that lends nearly equal weight to all four of the band's albums, and avoids the opportunity to re-examine and highlight lesser-known tracks. For more than ten years, the Chemical Brothers have been one of the most vibrant post-acid house artists in the UK, but the only clear reason for their fans to plump for this disc are mostly located on the now-requisite limited-edition bonus disc. Were the record's second half to have been filled with the best bits of the Chemical Brothers' last two albums, rather than offering a handful of limp new tracks and minor hits, these two discs would have been the best possible 1-2 punch for Chemical Brothers newbies. As it stands, those two discs are still called Exit Planet Dust and Dig Your Own Hole.
Pitchfork review
Chemical Brothers
Singles 93-03
[Astralwerks; 2003]
Rating: 7.8
Few artists have suffered as much guilt-by-association in the past decade as the Chemical Brothers; they've been derided as simpletons for spawning the now-mostly-unloved big beat genre, recording with Noel Gallagher, and unwittingly earning a spot among the U.S. media's leading faces for 90s "electronica." Some dance purists sneer at their lack of a traditional floor-filling build and release (they more often opt for a highlight-reel approach instead) and their tendency to exalt their collaborators at the expense of the crowd. But, while it's true the duo's key to success was their tendency to borrow heavily from rock's immediacy and penchant for noise, their rock/dance interface did seem a fresh and natural progression of dance music's mid-90s evolution.
From their roots in Manchester's Acid House days, the duo's clear talent lied in the combination of hip-hop's urgency with the crowd-pleasing peaks of house and techno. Innovation never seemed as much a priority for them as repeatedly striking a listener's pleasure zone-- though, to be fair, there is a more of a sense of narrative and conscious dynamic in their records than can be found in those of big beat contemporaries like Fatboy Slim, Propellerheads and Apollo 440. It's unfortunate that Astralwerks has chosen this moment to compile the first decade of the duo's career (mid-90s electronica seems to be in the deepest valley of cultural relevance that it may experience in the next twenty years), but it's a solid collection nonetheless, rounded out with two new tracks: one collaboration with Canadian rapper K-OS, and another with The Flaming Lips.
Presented chronologically, the disc opens with two songs from the Exit Planet Dust LP. "Song to the Siren" and "Chemical Beats", originally credited to The Dust Brothers (the moniker was later ceded to the American production team), sounded something like a hybrid of Public Enemy (mostly due to their pillaging of Bomb Squad riffs and breakbeats) and less effete shoegaze groups, albeit with heavy influence from the Balearic melting-pot. "Leave Home" follows, offering more pummeling sub-bass and homage to old-school hip-hop-- it even contained the prominent B-boy vocal snippet "brothers gonna work it out," doubling as a statement of intent and a reference to their bandname litigation.
"Block Rockin' Beats", the first of a handful of selections from the band's U.S. breakthrough, Dig Your Own Hole, is also peppered with sirens and bass, and while it may have been their most direct hardcore techno/hip-hop crossover, its reliance on repetition and a near-pop song structure made it feel slightly overlong. The buzzing, psych-informed Noel Gallagher collaboration "Setting Sun" borrowed liberally from The Beatles' "Tomorrow Never Knows" and featured screeching guitar and a brilliant mid-frequency breakdown before throwing the listener back into the deep end of sub-bass and breakbeats. Another Beatles-quoting track, "The Private Psychedelic Reel", demonstrates the band's eclecticism, belying its techno roots. So far, so good.
Despite its attempts to move away from pervious sound, the duo's third album, Surrender, was hamstrung by too much recycling: the same guests or types of guests, the same moods, and the same use of soundbyte and dynamics. Here, the Brothers made concessions to their rock stardom and continued to engage with that world in the few ways they knew how-- more textured, atmospheric guitars and drowsy, morning-after vocals. The pedestrian "Hey Boy Hey Girl" lacked their usual big drums and obvious hooks, which would be fine were its vocal sample stronger. Compared to some of Surrender's more house-oriented and delicately textured tracks-- such as "Music: Response", the delightfully minimal "Got Glint?", and "Under the Influence"-- "Hey Boy Hey Girl" was an electro-house snore. The Balearic, almost filter-disco feel and Bernard Sumner vocals of "Out of Control", however, are a welcome addition here, as is "Let Forever Be", which, despite the duo's decision to fly in the drum track from "Setting Sun" and to feature another over-stretched vocal from Noel Gallagher, was ultimately a more sophisticated offering than its predecessor.
2002's Come with Us was coldly received by the public and critics, and the songs featured here fail to make a solid case for reconsideration. "Star Guitar", the collection's most rave-oriented track, doesn't leave much of an impression, but may as well be Beethoven's 9th next to the Richard Ashcroft collaboration "The Test". Opening with a bit of "Papua New Guinea"-like tribalism, the song is ground to a halt by Ashcroft's flaccid shaman act and ponderous drug lyrics. The song is simple hippie bullshit, a deserved companion for Fatboy Slim's equally wretched Jim Morrison-quoting "Sunset (Bird of Prey)".
The duo's new collaboration with K-OS raises the question as to why, when hip-hop has so obviously informed their music, they'd never before teamed with an emcee, even while K-OS' lyrics and delivery are somewhat wanting. The Flaming Lips collaboration "The Golden Path", meanwhile, features a bouncy Pet Shop Boys beat over which Wayne Coyne employs what is essentially his natural voice for most of the track before drifting into his more recognizable affected falsetto. Unfortunately, like Ashcroft, Coyne seems to prefer play-acting to making a positive contribution, and his stream-of-consciousness good-vs-evil dialog is detrimental to the track's staying power.
Though one could easily be misled by its title, this compilation doesn't purport to be a complete collection of The Chemical Brothers' singles, Among the missing are "Loops of Fury", inexplicably relegated to being the highlight of the album's limited-edition bonus disc, which offers eleven B-sides, mixes, and rarities as extras. Additionally, the disc features a live version of the also regrettably omitted "Elektrobank", as well as the "original version" of Come With Us highlight "Galaxy Bounce", and B-sides such as "Morning Lemon" and "If You Kling to Me I'll Klong to You".
So like many career-spanning collaborations, Singles 93-03 sacrifices quality control for a democratic approach that lends nearly equal weight to all four of the band's albums, and avoids the opportunity to re-examine and highlight lesser-known tracks. For more than ten years, the Chemical Brothers have been one of the most vibrant post-acid house artists in the UK, but the only clear reason for their fans to plump for this disc are mostly located on the now-requisite limited-edition bonus disc. Were the record's second half to have been filled with the best bits of the Chemical Brothers' last two albums, rather than offering a handful of limp new tracks and minor hits, these two discs would have been the best possible 1-2 punch for Chemical Brothers newbies. As it stands, those two discs are still called Exit Planet Dust and Dig Your Own Hole.
#7
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Posted 29 September 2003 - 7:06 PM
EVER since bursting onto the UK dance scene with their breathtaking debut album, Exit Planet Dust, the Chemical Brothers have continued to set the standard for big big/break beat dancefloor fillers.
Ten years on, they show no sign of losing the spark, or the ability to work it out, and have claimed, in interviews, that this greatest hits compilation marks something of a crossroads in their career.
Speaking to Xfm Dj, Zoe Ball, they admitted to feeling that every new album they worked on felt like it had to follow the previous in some way, whereas the forthcoming new release, which is well underway, marked something of a clean break.
As such, with one decade in the past, we can now look ahead to the future with relish, armed with this quintissential compilation as a reminder of why the Brothers remain so highly rated and sought-after by the dance crowd.
As with any greatest hits compilation, however, there is always a certain amount of surprise in seeing which tracks have been included, and which have been omitted.
Hence, tracks such as It Began in Afrika, Elektrobank or Music: Response have not made it on, and nor have the duo's breathaking collaborations with Beth Orton, such as Alive Alone or Where Do I Begin - which consistently find the Brothers at their finest.
Indeed, with this in mind, it would be interesting to see which tracks the Brothers would pick out if they weren't just concentrating on the singles, as frequently, over the years, album tracks - such as their collaboration with Tim Burgess - have produced bigger thrills than those that have been released with chart success, or big occasions, in mind.
Of the collaborations which have been selected, however, Let Forever Be, with Noel Gallagher, and The Test, featuring Richard Ashcroft, really bring out the best in both singers' vocals, while also serving to underline just how effective such partnerships can be.
Ed Simmons and Tom Rowland are also terrific mixers in their own right, and tracks such as Song to the Siren (which promises that 'the brothers gonna work it out') and Leave Home, from the first album, or the groove-tastic Block Rockin' Beats, or psychedelic Star Guitar only serve to emphasise why a Chemical Brothers track is never far from the decks of any self-respecting Dj.
Of the two new tracks, Golden Path, which features their collaboration with The Flaming Lips' Wayne Coyne, has already been released as a single, while Get Yourself High is an enticing, albeit slightly more chilled and funky, floor-filler that points towards the future with some optimism.
And while true fans will probably shy away from owning this compilation, due to the fact they already own most of the material, this is an excellent excuse to play all the good stuff in one hit, and a downright essential album to have for any party occasion.
Let's hope the next ten years work out as well for them!
Ten years on, they show no sign of losing the spark, or the ability to work it out, and have claimed, in interviews, that this greatest hits compilation marks something of a crossroads in their career.
Speaking to Xfm Dj, Zoe Ball, they admitted to feeling that every new album they worked on felt like it had to follow the previous in some way, whereas the forthcoming new release, which is well underway, marked something of a clean break.
As such, with one decade in the past, we can now look ahead to the future with relish, armed with this quintissential compilation as a reminder of why the Brothers remain so highly rated and sought-after by the dance crowd.
As with any greatest hits compilation, however, there is always a certain amount of surprise in seeing which tracks have been included, and which have been omitted.
Hence, tracks such as It Began in Afrika, Elektrobank or Music: Response have not made it on, and nor have the duo's breathaking collaborations with Beth Orton, such as Alive Alone or Where Do I Begin - which consistently find the Brothers at their finest.
Indeed, with this in mind, it would be interesting to see which tracks the Brothers would pick out if they weren't just concentrating on the singles, as frequently, over the years, album tracks - such as their collaboration with Tim Burgess - have produced bigger thrills than those that have been released with chart success, or big occasions, in mind.
Of the collaborations which have been selected, however, Let Forever Be, with Noel Gallagher, and The Test, featuring Richard Ashcroft, really bring out the best in both singers' vocals, while also serving to underline just how effective such partnerships can be.
Ed Simmons and Tom Rowland are also terrific mixers in their own right, and tracks such as Song to the Siren (which promises that 'the brothers gonna work it out') and Leave Home, from the first album, or the groove-tastic Block Rockin' Beats, or psychedelic Star Guitar only serve to emphasise why a Chemical Brothers track is never far from the decks of any self-respecting Dj.
Of the two new tracks, Golden Path, which features their collaboration with The Flaming Lips' Wayne Coyne, has already been released as a single, while Get Yourself High is an enticing, albeit slightly more chilled and funky, floor-filler that points towards the future with some optimism.
And while true fans will probably shy away from owning this compilation, due to the fact they already own most of the material, this is an excellent excuse to play all the good stuff in one hit, and a downright essential album to have for any party occasion.
Let's hope the next ten years work out as well for them!
#8
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Posted 30 September 2003 - 3:16 AM
Hey chemicalreaction, thanks for posting these reviews. It's nice to have them here, since my time online has become increasingly limited - so this place is pretty much my one-stop shop.
^ hehehehe. This made me giggle. I assume (considering this reviewer didn't even get their names right! harrr!) hasn't stopped by this forum in search of "true fans" who're actually excited about this compilation. ;)
chemicalreaction Escribi�:
And while true fans will probably shy away from owning this compilation, due to the fact they already own most of the material...
^ hehehehe. This made me giggle. I assume (considering this reviewer didn't even get their names right! harrr!) hasn't stopped by this forum in search of "true fans" who're actually excited about this compilation. ;)
be kind, for everyone you meet is fighting a hard battle
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Posted 30 September 2003 - 11:12 AM
Referring to the Pitchfork review: I am sick of this build em' up, tear em' down notion that there is amongst the media (especially in the UK). You can hear the media saying "You've had a few hits, now bugger off!" They all love raving on about Block rockin' beats and Setting sun but slating The test and Star guitar :-|.
But then they're probably all DJ Sammy fans anyway X-D....
But then they're probably all DJ Sammy fans anyway X-D....
#14
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Posted 30 September 2003 - 3:41 PM
More Chemical related news
Justin Timberlake leads MTV nominations
Last updated 29 September 2003
The MTV Europe Award nominations were announced last night and Justin Timberlake leads with five nods.
Christina Aguilera, who will host the ceremony, has received four nominations, equalled by The White Stripes.
Beyonce, Kylie, The Flaming Lips and Sean Paul will all be performing at the event in Edinburgh on November 6.
Travis haven't been nominated, but Fran says they're looking forward to performing at the bash which will be held on their home territory:
"It's just so cool that we have been invited to perform on our home turf in one the most beautiful cities in the world, in one of the coolest countries in the world for our people."
We kind of got the impression he's proud to be Scottish:
"Scotland is the greatest country in the world - the people are among the coolest, the most artistic? Scotland is just fantastic. You go all around the world and people are like 'Oh are you [Scottish]? Wahey!'"
The nominations are as follows?
Best Group
Coldplay
Evanescence
Metallica
Radiohead
The White Stripes
Best Song
Beyonc� feat. Jay-Z, 'Crazy In Love'
Christina Aguilera, 'Beautiful'
Evanescence, 'Bring Me To Life'
Justin Timberlake, 'Cry Me A River'
Sean Paul, 'Get Busy'
Best Female
Beyonc�
Christina Aguilera
Kylie Minogue
Madonna
Pink
Best Male
Craig David
Eminem
Justin Timberlake
Robbie Williams
Sean Paul
Best Hip Hop
50 Cent
Eminem
Jay-Z
Missy Elliott
Nelly
Best New Act
50 Cent
Evanescence
Good Charlotte
Justin Timberlake
Sean Paul
Best R&B
Ashanti
Beyonc�
Craig David
Jennifer Lopez
Mary J Blige
Best Album
50 Cent,'Get Rich Or Die Tryin''
Christina Aguilera, 'Stripped'
Justin Timberlake, 'Justified'
Robbie Williams, 'Escapology'
The White Stripes, 'Elephant'
Best Dance
Junior Senior
Moby
Panjabi MC
Paul Oakenfold
The Chemical Brothers
Best Rock
Good Charlotte
Linkin Park
Metallica
Red Hot Chili Peppers
The White Stripes
Best Pop
Christina Aguilera
Justin Timberlake
Kylie Minogue
Pink
Robbie Williams
Best Video
Missy Elliott, 'Work It'
Queens Of The Stone Age, 'Go With The Flow'
Sigur R�s, 'Untitled 1'
The White Stripes, 'Seven Nation Army'
Unkle, 'An Eye For An Eye'
Justin Timberlake leads MTV nominations
Last updated 29 September 2003
The MTV Europe Award nominations were announced last night and Justin Timberlake leads with five nods.
Christina Aguilera, who will host the ceremony, has received four nominations, equalled by The White Stripes.
Beyonce, Kylie, The Flaming Lips and Sean Paul will all be performing at the event in Edinburgh on November 6.
Travis haven't been nominated, but Fran says they're looking forward to performing at the bash which will be held on their home territory:
"It's just so cool that we have been invited to perform on our home turf in one the most beautiful cities in the world, in one of the coolest countries in the world for our people."
We kind of got the impression he's proud to be Scottish:
"Scotland is the greatest country in the world - the people are among the coolest, the most artistic? Scotland is just fantastic. You go all around the world and people are like 'Oh are you [Scottish]? Wahey!'"
The nominations are as follows?
Best Group
Coldplay
Evanescence
Metallica
Radiohead
The White Stripes
Best Song
Beyonc� feat. Jay-Z, 'Crazy In Love'
Christina Aguilera, 'Beautiful'
Evanescence, 'Bring Me To Life'
Justin Timberlake, 'Cry Me A River'
Sean Paul, 'Get Busy'
Best Female
Beyonc�
Christina Aguilera
Kylie Minogue
Madonna
Pink
Best Male
Craig David
Eminem
Justin Timberlake
Robbie Williams
Sean Paul
Best Hip Hop
50 Cent
Eminem
Jay-Z
Missy Elliott
Nelly
Best New Act
50 Cent
Evanescence
Good Charlotte
Justin Timberlake
Sean Paul
Best R&B
Ashanti
Beyonc�
Craig David
Jennifer Lopez
Mary J Blige
Best Album
50 Cent,'Get Rich Or Die Tryin''
Christina Aguilera, 'Stripped'
Justin Timberlake, 'Justified'
Robbie Williams, 'Escapology'
The White Stripes, 'Elephant'
Best Dance
Junior Senior
Moby
Panjabi MC
Paul Oakenfold
The Chemical Brothers
Best Rock
Good Charlotte
Linkin Park
Metallica
Red Hot Chili Peppers
The White Stripes
Best Pop
Christina Aguilera
Justin Timberlake
Kylie Minogue
Pink
Robbie Williams
Best Video
Missy Elliott, 'Work It'
Queens Of The Stone Age, 'Go With The Flow'
Sigur R�s, 'Untitled 1'
The White Stripes, 'Seven Nation Army'
Unkle, 'An Eye For An Eye'
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