[ t e x t . o n l y . v e r s i o n ] [ b y . c y c l o n e . w e h n e r ]
When the biogloss "Chemical Brothers: Done And Dusted" recently
materialised on book stands with the words 'unofficial' and
'unauthorised' conspicuously printed on the back cover, it signalled that
The Chemicals had arrived at Pop Central. At any rate, Tom Rowlands and Ed
Simons consider their current standing as cultural icons to be a big joke.
The Chemicals may have just delivered one of the year's most anticipated
albums but, at their end, it's business as usual. Even now the two, who met
while undertaking history degrees in Manchester a decade ago, lead an
unassuming day-to-day existence focussing on what they dig the most. 'I get
up and have a cup of tea and go to the studio and sit with Tom -- that's
what we've been doing for five years,' a bemused Simons says. 'Sometimes it
can be a disappointment to journalists that we're not living out some kind
of rock 'n' roll fantasy.'
As with their contemporaries, Fatboy Slim and The Prodigy, The Chemicals
have transcended the dance music subculture to become a de facto rock act.
Nevertheless, the duo's latest album, "Surrender", finally finds them
trashing the increasingly redundant 'big beat' tag, which, curiously
enough, they inspired in the first place with their early efforts, "Song To
The Siren" and "Chemical Beats". In fact this album is The Chemicals' most
eclectic to date, stretching across the deep divide between techno and
indie-rock. Yet "Surrender" is not a pretentious conceptual outing, by any
means. It's one big party. The album sees Tom and Ed working alongside a
stellar line-up of guests, among them Bernard Sumner (New Order), Bobby
Gillespie (Primal Scream), Hope Sandoval (Mazzy Star), Noel Gallagher
(Oasis) and Jonathan Donahue (Mercury Rev). The lead single -- an
instrumental dancefloor cut, "Hey Boy Hey Girl", based on Rockmaster Scott
And The Dynamic Three's old skool hip-hop joint, "The Roof Is On Fire" --
is hardly typical. The reviews in the international music press have been
enthusiastic, which should reassure Ed, who at one stage actually feared
that "Surrender" may be too ambitious.
Simons downplays the creative -- and by default political -- manoeuvres
behind "Surrender", the title of which was sparked by the romantic old rave
philosophy of 'surrendering to the music.' 'We don't ever make music that's
for a particular category. We don't set out to make a 'big beat' record,
but we always feel we're doing interesting new things. It's for other
people to give our music labels.'
With 1997's "Dig Your Own Hole" the duo broke down a few commercial
barriers. In the UK the album clocked up healthy platinum sales and even
spawned a number one hit in "Block Rockin' Beats". Meanwhile The Chemicals
were hailed for introducing electronica into the US mainstream. Finally,
Block scored the pair a Grammy for 'best rock instrumental performance.'
And so, not surprisingly, The Chemicals took their time to come back with a
credible follow-up. Over the past year or so Tom and Ed have maintained a
low profile, only releasing their "Brothers Gonna Work It Out" mix-CD and
the odd remix, and just venturing out for a few DJ gigs. Has there been a
lot of pressure placed on them this time? Ed responds.
'Well, the pressure is, like, internal. It's fairly large, the pressure,
but it's between us. It's generated by me and Tom, and we're not hung up on
what the world thinks of this record. You know, it's for us. When we make
music, it's like the two of us deciding what we like. But I think the fact
that we've been successful gives us more confidence and makes us enjoy
making music a lot more, definitely. We like the fact that there's people
listening. There's nothing worse than being in a band and making music that
no one is really listening to. So it's a good thing -- that kind of
pressure. We feel that the strength of the music we made before is what
puts the pressure on us, because we've got to make it as good as that.'
Nor are the duo concerned with consolidating their gains in the US market,
Simons insists. 'Well, I think maybe we have the expectations raised by the
fact that last time there was a big hype about electronica. We've always
gone to America. We've played there. We've always enjoyed it. A lot of the
music we love comes from America. But, as far as consolidating our gains
goes, we don't really think in terms of that. We go where people appreciate
our music and where we enjoy playing. If it sells less this time around in
America I wouldn't be that surprised, because there was a big media hype
about electronic bands and stuff. But I think this record might do better
in Europe.'
Of course, the cruel irony of this transatlantic crossover is that British
acts such as The Chemicals, Underworld and Orbital have been praised for
breaking electronic music in the States, although both house and techno
originated in Chicago and Detroit. What is even more pertinent is that the
dominant electronic styles of today were created by a bunch of
African-American kids who sought to mix the electronic eccentricity of
Kraftwerk and the funky ghetto futurism of George Clinton into disco. A
radical undertaking, to be sure. And perhaps too revolutionary for the
American masses to comprehend. The seminal contributions by electronic
music's auteurs to contemporary pop culture have been completely ignored by
the American media. And of late even Public Enemy's Chuck D, who once
delivered the rap critique 'who stole the soul?,' has spoken
enthusiastically of how he would like to hook up with The Chemicals and
Prodigy to cut a hardcore electronic record. (Ed reveals that Chuck was all
set to guest on "Surrender" until logistics came into play.)
Understandably, there are some within the ranks of the Black American
underground who feel deeply wounded -- and they perceive a cultural history
of exclusion and dispossession repeating itself. Simons is sympathetic yet
remains at a loss to explain the inconsistency. But he does believe that
The Chemicals have always fully acknowledged their roots.
'It's really [about] where you wanna go. I think if they'd wanted to work
with other people or wanted to put out albums that could work as pop
albums, they would have done it. But they do what they're into doing. I
don't think our success or the success of Orbital or Underworld is
detrimental to them. I don't think that affects their standing in the
community. I think that everyone is happy with their level. If you want
more, you'll do more. Their records do get listened to. Maybe they don't
get onto the rock radio stations, but then for us to get on rock radio it
took working with Noel Gallagher. And then there's a world of difference
between a deep Detroit techno record and "Block Rockin' Beats". It's a
shame that the radio stations have picked up on the style of "Block Rockin'
Beats", but that's the way of the world. I don't think it's a real problem.
I don't think it's inherently a problem for those people.'
While The Chemicals are widely recognised for their slightly goofy image
(specifically the dodgy haircuts), little is known of the dynamic that
exists between them. The two were already good friends when they started
DJing together under their original 'stolen' name, The Dust Brothers, at
Naked Under Leather (they later took up a residency at London's now
legendary Heavenly Social). Inevitably, The Chemicals still enjoy a much
more interactive working relationship than, say, Underworld. 'What you hear
is kind of a give and take between the two of us,' Ed confirms. 'We share
the things we like about music and we try and get it out. We don't really
speak a lot. We just sit behind our machines and make music.'
However, the pair have experienced the odd intense moment in the studio and
according to Ed these disputes were not infrequent during the "Surrender"
sessions. At various points he even thought it may be their swan song.
'There was a lot more tension making this record than there has been
before, because it was more difficult to make. And the fact that it
sometimes felt like it was sprawling out of control could get you down. I
think Tom was a lot more confident. He could see an end point, but I was a
bit lost at times as to how the record was gonna fit together.' It looks
like Ed needn't have worried.
"Surrender" is out through Virgin.
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