Found this one:
IN BRIEF: Scrapes a pass, but must try harder next time.
They are the amiable chaps who introduced big-beat and electronic-rock crossovers to the world back in 1995, pioneers of a fresh and exciting approach to electronic music and all round good eggs. We Are The Night is The Chemical Brothers’ sixth studio record, and given their previous history stands them in good stead for the now familiar plaudits and critical acclaim. Managing to retain their credibility whilst shifting volumes of units that ensure the record company keeps them on the Christmas card list, Tom Rowlands and Ed Simons have carved out a niche for themselves that has likely only been overshadowed commercially by Fatboy Slim. Add to that the indisputable fact they deliver an exceptional live show and it’s clear to see why release number six sees them already in the stratosphere of success margins.
They create music that is accessible and yet challenging; those buying an album on the strength of a single will largely appreciate their finer moments that lurk unreleased and love them all the more for it. There’s nothing quite like introducing a friend to a mind-blowing but relatively unknown cut and their earlier works are prime hunting grounds for such treasures. In essence, it's one of the joys of buying any album really; the works of brilliance are secreted away for those who will really appreciate them.
Looking at the sleeve notes, the vocal collaborations are rather more low-key than on previous outing Push The Button. Folksy-upstart Willy Mason and British ‘Nu Ravers’ (oh how I despise that term) Klaxons are probably the best-known contributors on this occasion. Add a rapper and a balladeer into the equation, and you have most bases covered in attracting the interest of the masses.
Of all the Chem’s releases it has to be said that this has the weakest opening gambit. Pulling a vocal from a track that features later on the same album and drenching it in effects could be brilliant, but in this case, it isn’t. It’s poor, really poor, and is probably one of the dullest vocal passages ever to be passed off as a track; Willy Mason for all intents and purposes sounds like a thin and reedy imitation of Kings of Leon frontman Caleb Followill, subsequently lacking any redeeming features aside from the fact he doesn’t hit any bum notes, which can be perhaps considered a bonus.
Sadly, when said track Battle Scars appears in all its glory, the opening sequence suddenly doesn’t seem so bad. With the benefit of the ‘full picture’, Mason now resembles a poor man’s Jim Morrison rather than Mr. Followill; his mutterings are neither original nor inspiring and drag an already tedious backing track into the depths of skip-button fodder. The only worse track on here is the dire The Salmon Dance. This will divide people like a stage-diving sumo and opposing camps are sure to either giggle at its ‘zany’ nature or reach for the nearest blunt object to hurl at the stereo.
As a respite, Do It Again is the one stellar vocal offering, unashamedly poppy and tongue-in-cheek residing comfortably as it does in the now parody-ripe electro-pop neighbourhood. Despite its leanings toward the dark side, it is far too savvy to be dismissed and the charm is its fun factor. In fact, it stands tall amongst the finer cuts on here.
Alas, back briefly to the dark matter with Klaxons’ input. All Rights Reversed is rather unspectacular; a linear vocal backing accompanies dour repetitive keyboard bashing and sounds weaker than even the worst offender from The Klaxons debut release. The productional tweaks manage to give the track presence and a sense of foreboding but it fails to deliver any sense of excitement or diversity one has come to expect from these collaborations.
Thankfully, salvation does await the patient, as the instrumentals are where faith in the boys is restored and demonstrates their true gift as tunesmiths. Das Spiegel is as quirky a number as you are likely to find outside of a BT concept album but retains the in-house familiarity of beautifully-crafted sequences and warm clunky guitars. It sounds identifiable without sounding tired or predictable, a mark of great Chemical Brothers productions. In a similar vein is the short but syrupy Harpoons which layers haunting pads over slick guitars and psychedelic twistings resulting memories of past tracks but is adequately diverse to allow forgiveness. Burst Generator, meanwhile, is deep and menacing with its murky vocals and grinding bass, littered with arpeggiated synth runs and eerie feedback loops, no doubt becoming a highlight of their promotional tour.
The Pills Wont Help You Now finishes the album with the requisite ballad but despite the epic crescendos and rousing keys it doesn’t have the instantly-endearing charisma of The Private Psychedelic Reel or the euphoric, heart-wrenching drive of Surface To Air, previous closing numbers that have come to represent how great the Chems can be. Frankly, it’s below par, and I’m running out of ways to describe the tracks on here that disappoint.
Shortcomings occur too often on this release; the knowing that Tom & Ed can do so much better is all the more disheartening. The penultimate record is the one that should consolidate the previous numbers, reaffirming the reasons why you have bought said album and why you appreciate the artiste that created it. The last song should be many things which, in this case, it just isn’t.
It is so frustrating that polar opposites in regard to quality are on the same release. Oddly, it seems to be the vocal tracks that are the worst offenders whereas they usually become firm favourites after only a few listens. Perhaps the Chems need to choose their studio partners with more care next time, as these bedfellows are clearly not reading from the same musical page. That said, the final decisions come down to the producers so the book stops with the boys themselves.
It’s a shame that such wonderful moments are marred by the proliferation of what is tantamount to filler material. If you were to introduce anyone to the hidden joys of a Chemical Brothers LP, this would not be the one to run with.
This topic is locked
MultiQuote
