No Geography - Album
No Geography (Album) by The Chemical Brothers
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Artist Biography For The Chemical Brothers
The Chemical Brothers Are An English Electronic Music Duo Formed By Tom Rowlands And Ed Simons In Manchester In 1989. They Were Pioneers Along With The Prodigy Fatboy Slim The Crystal Method And Other Acts In Bringing The Big Beat Genre To The Forefront Of Pop Culture. After Attracting Virgin Records The Duo Achieved Further Success With Second Album Dig Your Own Hole 1997 Which Topped The UK Charts. In The UK They Have Had Six No. 1 Albums And 13 Top-20 Singles Including Two Chart-Toppers. Their Name Came About In 1995 After They Dropped Their Original Moniker The Dust Brothers Due To The Existence Of A Different Band With The Same Name. In The United States They Have Won Six Grammy Awards Including Best Rock Instrumental Performance Best Dance Recording And Best Dance/Electronic Album Of The Year As Recently As 2020. Full Wikipedia Article Https //en.Wikipedia.Org/wiki/The_Chemical_Brothers Studio Albums
Exit Planet Dust 1995 Dig Your Own Hole 1997 Surrender 1999 Come With Us 2002 Push The Button 2005 We Are The Night 2007 Further 2010 Born In The Echoes 2015 No Geography 2019 For That Beautiful Feeling 2023
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Biography - The Chemical Brothers
The Chemical Brothers Are An English Electronic Music Duo Formed By Tom Rowlands And Ed Simons In Manchester In 1989. They Were Pioneers Along With The Prodigy Fatboy Slim The Crystal Method And Other Acts In Bringing The Big Beat Genre To The Forefront Of Pop Culture. After Attracting Virgin Records The Duo Achieved Further Success With Second Album Dig Your Own Hole 1997 Which Topped The UK Charts. In The UK They Have Had Six No. 1 Albums And 13 Top-20 Singles Including Two Chart-Toppers. Their Name Came About In 1995 After They Dropped Their Original Moniker The Dust Brothers Due To The Existence Of A Different Band With The Same Name. In The United States They Have Won Six Grammy Awards Including Best Rock Instrumental Performance Best Dance Recording And Best Dance/Electronic Album Of The Year As Recently As 2020. Full Wikipedia Article Https //en.Wikipedia.Org/wiki/The_Chemical_Brothers Studio Albums
Exit Planet Dust 1995 Dig Your Own Hole 1997 Surrender 1999 Come With Us 2002 Push The Button 2005 We Are The Night 2007 Further 2010 Born In The Echoes 2015 No Geography 2019 For That Beautiful Feeling 2023 read less
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Exit Planet Dust 1995 Dig Your Own Hole 1997 Surrender 1999 Come With Us 2002 Push The Button 2005 We Are The Night 2007 Further 2010 Born In The Echoes 2015 No Geography 2019 For That Beautiful Feeling 2023 read less
16 Similar Artists To The Chemical Brothers - Frogtoon Music
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If No Geography Is The Chemical Brothers' Most Daring Album In 20 Years—and It Is—that’s Partly Due To Tom Rowlands And Ed Simons Tapping Back Into The Mid-’90s A Time When They Were Helping To Radically Redefine The Possibilities For UK Dance Music. To Sow That Spirit Of Experimentalism Into Their Ninth Album The Pair Exhumed The Old Samplers They Used To Make Their First Two Albums. “I Set Up A Corner Of My Studio That Was ‘The 1997 Corner ’” Tom Tells Apple Music. “It Was Very Rudimentary The Sort Of Thing That I’d Have Set Up In My Bedroom A Long Time Ago. There’s A Particular Sound In These Old Samplers And Their Limitations Spur You Being More Creative In How You Use Samples And Throw Things Together.” Another Inspiring Throwback Was To Play Unfinished Music In Their Live Sets Allowing The Songs To Evolve And Change On Stage As They Had Done While Making 1995’s Exit Planet Dust And Dig Your Own Hole In 1997. The Result Is Uplifting Aggressive And Contemplative Meshing Breakbeats Samples And Multiple Shades Of Dance Music With A Keen Understanding Of Psychedelia And Melody. Here Tom Takes Us Through The Album Track By Track. “Eve Of Destruction”
“I Saw Norwegian Alt-Pop Singer-Songwriter Aurora On TV Playing At Glastonbury And I Was Blown Away By The Power Of Her Voice And The Raw Feel She Had. She Came To The Studio And We Had Such An Inspiring Time. She Was So Open To Ideas And So Full Of Ideas. She Came Up With Eve Of Destruction As A Character This Goddess Of Destruction. It Starts With A Discordant Voice But As The Track Grows It Turns Into Celebration. The Response To This Foreboding Forbidding Nature Of The Lyric Is To Cut Loose To Come Together Go Out And Find A Friend And Be With Other Like-Minded People.” “Bango”
“Aurora’s Response To Playing Her Bits Of Music Was So Unexpected Brilliant And Inspiring. For ‘Bango’ I’d Play Her Something And She’d Come Back And With Angular Words And Ideas About Unbalanced Relationship Dynamics And Gods Bringing Thunder Upon You. That's The Excitement Of Collaborating With Someone—arriving At Something That Neither Of You Could Have Thought Of On Your Own.” “No Geography”
“The Vocal Sample Is From A Poem By Michael Brownstein A ’70s New York Poet. They Did This Series Called The Dial-A-Poem Poets Where You Could Phone Up And Have Poets Read To You. That Bit Seems To Be Dealing With The Idea That The Physical Geography Between People Is Not A Barrier To Their Connection. But Yeah On A Bigger Scale It’s Saying Something About People Being Connected And How We All Share Something Together. It’s Recognizing That We Are Codependent On Each Other I Suppose.” “Got To Keep On”
“You’ve Got The Sparkly Drums And The ‘Got To Keep On Making Me High’ Sample From Peter Brown’s ‘Dance With Me’ And Then It Has This Strange Off-Kilter Moment In The Middle Which Was A Late Night In The Studio Making Everything As Deranged As It Can Be—everything Feeding Back And All The Machines Squealing. It’s Too Much Basically. And When It’s Too Much It’s Just Enough. And Then It Kind Of Resolves Out And The Bells Come In. We Love To Have These Really Intense Kind Of Psychedelic Moments In Our Music And Then It Resolves Into A Joy—you’ve Come Through It Almost. It’s Something That Feels Very Natural To Us.” “Gravity Drops”
“This Is The First Breathing Moment Of The Record Really. It’s Got Heavy Beats But The Music Is Moving Around And Then You’ve Got Very Full-On D-D-D-Drong Bits. It All Comes From Setting Up The Studio To Play It Live—we Set Up Lots Of Instruments And Processors So We Can Play It As A Kind Of Jam And Then See Where We Get To. This Is Definitely Made Of Trying To Have Those Sections Where It Just Freaks Us Out. And Then We Go ‘Yes It’s Freaked Us Out.’” “The Universe Sent Me”
“Aurora Really Made This By Coming Up With These Amazing Images. Sonics-Wise There Are A Lot Of Ideas And A Lot Of Movement. There Are Moments Where It Almost Feels That Whole Thing Has Gone Too Far The Way It Builds And Then You’re Back Down. It’s A Rolling Psychedelic Journey For Want Of A Better Word.” “We’ve Got To Try”
“This Reminds Me Of Records That We Would Play At Legendary London Club Night The Social When We First Started. We’d Play Quite A Lot Of Soul Next To Mad Acid Records. When We Were Making This Track It Really Reminded Me Of That—this Idea That We Were Trying To Reach For But Never Really Realized In Our Own Music. If This Song Had Arrived In Our Record Bags We’d Have Gone ‘Wow! This Is The Sound Of What We Want To Play.’” “Free Yourself”
“This Samples Another Dial-A-Poem Poet Diane Di Prima. We Loved Hearing That Vocal In A Nightclub. It Was Exciting To Build A New Context For That Song To Have A New Meaning. We Played It Live A Lot In 2018 And That Really Fed Into How The Final Thing Turned Out. It’s Also Got That ‘Waaaaaaaaaaaaaah’ Kind Of Noise. We Just Like Instant Delirium Noises.” “MAH”
“Once We Would Probably Have Felt This Was Too Big A Sample To Use The Line 'I’m Mad As Hell And I Ain’t Going To Take It No More' From El Coco’s ‘I’m Mad As Hell’ . But The Excitement Of Playing It Live And The Release Of The Music After The Vocal Was An Amazing Moment. Even Though We're Not The Kind Of Artists Who Will Be Very Explicit In What They're Feeling The Record Was Made In A Time When Every Day You Had Constant National Discussion And Arguments Going On. Even Though We’re Speaking Through A Sample Another Sentiment From Another Time When We Made The Song And Put This Whole Feeling Together It Was Like ‘Yeah That Somehow Relates To How I'm Feeling Today.’” “Catch Me I’m Falling”
“One Of The Sampled Vocals Is By Stephanie Dosen–we Worked With Her On Further And The Score For Hanna–from A Snowbird Track Which Is Her And Simon Raymonde Who Used To Be In The Cocteau Twins. The Other Is From Emmanuel Laskey’s ‘A Letter From Vietnam ’ This Very Emotive Song From 1968. Stephanie’s Singing In A Different Way—in A Different Room In A Different Time—but The Music We've Written Somehow Brings These Two Disparate Things Together And Makes New Sense Out Of Them. But It Only Makes Sense If The Thing At The End Of It Is Something You Want To Listen To Something That Moves You.” C EDITORS’ NOTES @ ITunes
Published: 04 Apr 2019, 16:49
No Geography Is The Ninth Studio Album By The Chemical Brothers. It Is Scheduled To Be Released On 12 April 2019. The First Single "Free Yourself" Was Released In 28 September 2018 With "MAH" Mad As Hell Following In 7 January 2019. On 1 February They Released The Third Single "Got To Keep On". On 8 March The Chemical Brothers Released The Fourth Single "We've Got To Try".*
If No Geography Is The Chemical Brothers' Most Daring Album In 20 Years—and It Is—that’s Partly Due To Tom Rowlands And Ed Simons Tapping Back Into The Mid-’90s A Time When They Were Helping To Radically Redefine The Possibilities For UK Dance Music. To Sow That Spirit Of Experimentalism Into Their Ninth Album The Pair Exhumed The Old Samplers They Used To Make Their First Two Albums. “I Set Up A Corner Of My Studio That Was ‘The 1997 Corner ’” Tom Tells Apple Music. “It Was Very Rudimentary The Sort Of Thing That I’d Have Set Up In My Bedroom A Long Time Ago. There’s A Particular Sound In These Old Samplers And Their Limitations Spur You Being More Creative In How You Use Samples And Throw Things Together.” Another Inspiring Throwback Was To Play Unfinished Music In Their Live Sets Allowing The Songs To Evolve And Change On Stage As They Had Done While Making 1995’s Exit Planet Dust And Dig Your Own Hole In 1997. The Result Is Uplifting Aggressive And Contemplative Meshing Breakbeats Samples And Multiple Shades Of Dance Music With A Keen Understanding Of Psychedelia And Melody. Here Tom Takes Us Through The Album Track By Track. “Eve Of Destruction”
“I Saw Norwegian Alt-Pop Singer-Songwriter Aurora On TV Playing At Glastonbury And I Was Blown Away By The Power Of Her Voice And The Raw Feel She Had. She Came To The Studio And We Had Such An Inspiring Time. She Was So Open To Ideas And So Full Of Ideas. She Came Up With Eve Of Destruction As A Character This Goddess Of Destruction. It Starts With A Discordant Voice But As The Track Grows It Turns Into Celebration. The Response To This Foreboding Forbidding Nature Of The Lyric Is To Cut Loose To Come Together Go Out And Find A Friend And Be With Other Like-Minded People.” “Bango”
“Aurora’s Response To Playing Her Bits Of Music Was So Unexpected Brilliant And Inspiring. For ‘Bango’ I’d Play Her Something And She’d Come Back And With Angular Words And Ideas About Unbalanced Relationship Dynamics And Gods Bringing Thunder Upon You. That's The Excitement Of Collaborating With Someone—arriving At Something That Neither Of You Could Have Thought Of On Your Own.” “No Geography”
“The Vocal Sample Is From A Poem By Michael Brownstein A ’70s New York Poet. They Did This Series Called The Dial-A-Poem Poets Where You Could Phone Up And Have Poets Read To You. That Bit Seems To Be Dealing With The Idea That The Physical Geography Between People Is Not A Barrier To Their Connection. But Yeah On A Bigger Scale It’s Saying Something About People Being Connected And How We All Share Something Together. It’s Recognizing That We Are Codependent On Each Other I Suppose.” “Got To Keep On”
“You’ve Got The Sparkly Drums And The ‘Got To Keep On Making Me High’ Sample From Peter Brown’s ‘Dance With Me’ And Then It Has This Strange Off-Kilter Moment In The Middle Which Was A Late Night In The Studio Making Everything As Deranged As It Can Be—everything Feeding Back And All The Machines Squealing. It’s Too Much Basically. And When It’s Too Much It’s Just Enough. And Then It Kind Of Resolves Out And The Bells Come In. We Love To Have These Really Intense Kind Of Psychedelic Moments In Our Music And Then It Resolves Into A Joy—you’ve Come Through It Almost. It’s Something That Feels Very Natural To Us.” “Gravity Drops”
“This Is The First Breathing Moment Of The Record Really. It’s Got Heavy Beats But The Music Is Moving Around And Then You’ve Got Very Full-On D-D-D-Drong Bits. It All Comes From Setting Up The Studio To Play It Live—we Set Up Lots Of Instruments And Processors So We Can Play It As A Kind Of Jam And Then See Where We Get To. This Is Definitely Made Of Trying To Have Those Sections Where It Just Freaks Us Out. And Then We Go ‘Yes It’s Freaked Us Out.’” “The Universe Sent Me”
“Aurora Really Made This By Coming Up With These Amazing Images. Sonics-Wise There Are A Lot Of Ideas And A Lot Of Movement. There Are Moments Where It Almost Feels That Whole Thing Has Gone Too Far The Way It Builds And Then You’re Back Down. It’s A Rolling Psychedelic Journey For Want Of A Better Word.” “We’ve Got To Try”
“This Reminds Me Of Records That We Would Play At Legendary London Club Night The Social When We First Started. We’d Play Quite A Lot Of Soul Next To Mad Acid Records. When We Were Making This Track It Really Reminded Me Of That—this Idea That We Were Trying To Reach For But Never Really Realized In Our Own Music. If This Song Had Arrived In Our Record Bags We’d Have Gone ‘Wow! This Is The Sound Of What We Want To Play.’” “Free Yourself”
“This Samples Another Dial-A-Poem Poet Diane Di Prima. We Loved Hearing That Vocal In A Nightclub. It Was Exciting To Build A New Context For That Song To Have A New Meaning. We Played It Live A Lot In 2018 And That Really Fed Into How The Final Thing Turned Out. It’s Also Got That ‘Waaaaaaaaaaaaaah’ Kind Of Noise. We Just Like Instant Delirium Noises.” “MAH”
“Once We Would Probably Have Felt This Was Too Big A Sample To Use The Line 'I’m Mad As Hell And I Ain’t Going To Take It No More' From El Coco’s ‘I’m Mad As Hell’ . But The Excitement Of Playing It Live And The Release Of The Music After The Vocal Was An Amazing Moment. Even Though We're Not The Kind Of Artists Who Will Be Very Explicit In What They're Feeling The Record Was Made In A Time When Every Day You Had Constant National Discussion And Arguments Going On. Even Though We’re Speaking Through A Sample Another Sentiment From Another Time When We Made The Song And Put This Whole Feeling Together It Was Like ‘Yeah That Somehow Relates To How I'm Feeling Today.’” “Catch Me I’m Falling”
“One Of The Sampled Vocals Is By Stephanie Dosen–we Worked With Her On Further And The Score For Hanna–from A Snowbird Track Which Is Her And Simon Raymonde Who Used To Be In The Cocteau Twins. The Other Is From Emmanuel Laskey’s ‘A Letter From Vietnam ’ This Very Emotive Song From 1968. Stephanie’s Singing In A Different Way—in A Different Room In A Different Time—but The Music We've Written Somehow Brings These Two Disparate Things Together And Makes New Sense Out Of Them. But It Only Makes Sense If The Thing At The End Of It Is Something You Want To Listen To Something That Moves You.” C EDITORS’ NOTES @ ITunes