One record at a time: 59. Chvrches - Screen Violence

Like its predecessor, I can't tell you what this album is called without looking it up. I feel that my interest in Chvrches reduces with each successive album and this may well be the last record of theirs I purchase.

This is a transparent blue 180g vinyl released in 2021. I pre-ordered this from the band's official store and it came with a signed postcard. Whilst I have listened to the digital files of this album, this record remains sealed and unheard.

The opening track "Asking For A Friend" is the first time I've heard Lauren's accent so prominently. I am not a fan of the affected Mid-Atlantic drawl some singers feel they need to adopt so it is great to hear someone singing in their own accent. The first few times I listened to this song it didn't make much impression but I appreciate it more with every listen. I am also relieved the band are producing themselves and they have returned to their own distinctive sound. The sheen of previous album "Love Is Dead" didn't suit their songs and the grittier production on offer here is much more fitting.

I'm fairly sure I've heard the next song "He Said She Said" on the radio, which is amazing as I don't listen to the radio and none of the music I like is played on mainstream stations any more. The lyrics on this track are quite affecting and serve as a reminder of how considered and well composed some of these songs are.

Guitars make a prominent appearance on "California" and whist the song has a good tune, I can't warm to it. Unfortunately the use of guitars continues on "Final Girl" which sounds like a traditional 'band in the room' recording. Only the breakbeat craziness of "Violent Delights" provides a distraction from this new and worrying direction. Whilst "How Not To Drown" features a vocal contribution by Robert Smith, he is a little under utilised and it sounds like his inclusion was a bit of an afterthought.

Having trawled through some guitar orientated songs, normal service resumes with "Good Girls" which almost sounds like Vince Clarke had a hand in it. "Lullabies" evolves from an unpromising start into a good track with elements that made me think of "Thieves Like Us". The final two tracks aren't to my taste and "Better If You Don't" must be referring to their increasing use of guitars. Still, even with guitars, this record is better than their last one. Maybe I will buy the next one after all. 3/5

One record at a time: 58. Chvrches - Love Is Dead

I'll admit I haven't listened to this record much. My principal excuse is that there was a lot new music around when this album came out and my attention was focussed elsewhere. I did intend on returning to it, but as I am faced with a constant stream of new music and a finite amount of free time, it is inevitable that some records won't get listened to. I may have skimmed through the digital files and added the best songs to a playlist, but I haven't sat down with the vinyl and actually devoted time to listening. Until now.

I bought this translucent blue edition in May 2018 and it came with a signed postcard. The quality of the sound reproduction is okay but does have some annoying surface noise here and there.

The difference in approach between this record and the bands first two albums is quite marked. I'm guessing this change is attributable to Adele's producer Greg Kurtsin coming on board and making things a bit more pop and chart focused. This approach isn't quite in step with the material and I prefer the traditional Chvrches self produced sound. I know Dave Stewart (the 'A' one from Eurythmics and not the keyboard player) was somehow involved in the sessions that led to this album, but I have no idea if anything he contributed remains on the record. He certainly doesn't get into the credits so I'm guessing the collaboration didn't work out and everything was ditched.

As you may expect, the first two tracks, "Graffiti" and "Get Out" are some of the best on the album, but they still fall short of the quality displayed on previous albums. "Forever" and "Never Say Die" are competent electronic pop songs but I refuse to listen to "My Enemy" as it makes my ears bleed. "Graves" has hints of New Order with its high bass guitar and pulsing synths but doesn't quite fulfil its potential. "God's Plan" is the statutory song with Martin's awful vocal and things meander along along until the final track "Wonderland" revives the Hooky style bass guitar. I now realise the other reason I haven't listened to this album: I don't like it much. 2/5

One record at a time: 57. Chvrches - Every Open Eye

For some reason I struggle to remember the title of this album without it in front of me. Is it "Every Eye Open" or "Open Every Eye" or "Every Eye Open"? Whatever the album is called, it is the second from Scottish electronic pop purveyors Chvrches.

This is a 180g white vinyl version from 2015. The vinyl was pressed at Optimal Media in Germany so it sounds great and is pretty much flawless apart from the final track. I also own the Extended Edition of this album on CD which adds four songs and four remixes that aren't featured here.

The effortless nature of opening track "Never Ending Circles" belies its complexity and skilful production. Lauren's voice sounds amazing on both this and the next track "Leave A Trace" which provide the perfect opening. I am a firm believer that bands should front load an album with some of their best songs to ensure listeners are hooked in. This isn't just a commercial consideration but an artistic one. Human beings have short attention spans and if you want them to listen to the whole of your work, you need to pull them in right from the start.

When I first heard the start of "Clearest Blue" the hairs on the back of my neck stood up. As Lauren's vocal drew me in, the band began a build a release cycle that raised my expectations to dizzying heights. However, whilst the crescendo at 2:12 isn't without merit, it didn't pay off in the way I expected. This is about the only track in the world I would like to hear remixed by one of the thousands of anonymous Dutch DJs who peddle EDM/Trance. 

We skip "High Enough To Carry You Over" as it features Martin on vocals and hit a seam of perfectly adequate songs that meander along until the next epic "Bury It" comes along. This is a great track with an explosive chorus that is as obvious a single as you could hope to hear. The final track"Afterglow" is a bit of a torch song that would provide the perfect ending if it didn't distort so much on the vinyl. So this album builds on their debut, but ultimately falls into the same trap of delivering highly charged and amazing songs alongside some more mediocre offerings. 3/5

One record at a time: 56. Chvrches - The Bones Of What You Believe

I can't remember how I first became aware of Chvrches, but I suspect they were a recommendation from last.fm or Amazon. I began listening to their music in 2014 and I liked them so much I ordered their album on vinyl. 

Amazon soon dispatched me a copy of "The Bones Of What You Believe" on Vertigo records - which was a bit disappointing as they advertised it as the Virgin Records UK version. I know from past experience that Amazon aren't particularly fussy about specific pressings and the product details section of their website is often a work of fiction. At least it was the right album.

There is some great electronic pop music on this record and the band are contemporary enough to make me feel vaguely on trend for only the second time since 1998. I think the first track I heard of theirs was the opener "The Mother We Share" which has a soaring chorus augmented by some amazing programming. The album maintains a consistently high level until the sixth track "Under The Tide" which sees Martin replace the magnificent Lauren on vocals. Now, I acknowledge that Martin probably has more talent in his little finger than I can ever hope to posses; but I hate his singing voice. My aversion is so strong have to skip literally every track where he takes lead vocals. Unfortunately the album never really recovers from this trough and the second side seems to play itself out in a mediocre haze. Still, the first five songs are worth investigating. 3/5

One record at a time: 55. Chromeo - Head Over Heels

This is my third attempt at writing this post as I have been struggling to address the criticism of this album and its apparent attitude towards relationships and women. Having got myself lost in the arguments on either side, I have decided to simply offer my conclusion.

I consider Chromeo to be an 'act' in which Dave and Pee are playing parts (even their adopted Dave One and Pee Thugg monikers point to this). At the centre of this performance is a reflection on the absurdity of geeky guys entering into relationships with beautiful, confident and glamorous women. Their tales of failed relationships and sexual politics are part of the joke rather than being a reflection of their attitudes. I think Chromeo are delivering a self deprecating satire wrapped in an earnest desire to produce great music. Everything is delivered 'tongue in cheek' to make you dance with a smile on your face.

Originally I had a paragraph here discussing the cover image and the arguments around it. Again, I have decided to remove the text and just offer my conclusion that, however successful (or not) you judge it to be in redressing the balance, it was well intended.

On the musical side, pockets of existing fans seemed to regard this album as being overly commercial or too pop for their taste. When an artist sets out to produce a "bona fide all-stars album" with "top 40 producers" they are clearly setting their sights on increasing their commercial appeal. As a consequence, some long term fans who were initially attracted to a different attitude and sound are bound to be disappointed. Personally, I like the polished nature of this album and I enjoy its more pop orientated approach. However, I do agree with some fans who felt that there were too many collaborators and guest vocalists diluting the aesthetic. As good as this album is, there's always a little bit of sand in the Vasoline. 

Chromeo Live: highly recommended

Another issue I have with this album is the use of profanity. Whilst previous albums may have contained a cheeky one liner or an occasional mild swear word, this record is strewn with some quite strong expletives. Whilst I am not a prude (and have even been known to utter the occasional four-letter-word myself), I feel Chromeo are more sophisticated than this. To my mind, Chromeo's music is characterised by funky beats, retro synth styling and great melodies. They should leave the swearing to Snoop.

Having said that, "Head Over Heels" was on constant rotation in my house during the summer of 2018 and it remained so for most of the proceeding winter. My personal favourites are "One Track Mind", "Bad Decision" and "Room Service". The lead single "Juice" is an excellent example of the band's funk/pop/electronic hybrid sound and even the interlude "Right Back Home To You" is better than most bands could produce.

I own the limited edition yellow vinyl which was released in the band's home country of Canada. I imported my copy direct from Last Gang Records which saw the thieves at Her Majesty's Revenue and Customs and Royal Mail almost double the cost of the record with tax and arbitrary charges.  

I also went to see the band on tour in October 2018 and they were brilliant. Chromeo don't visit England very often and when they do it is largely for festival appearances. Fortunately, I saw them at one of the two headline shows on the tour. The performance and the musicianship were outstanding; I would recommend them very highly as a live act (the support act were a bit weird though). 4/5

One record at a time: 54. Chromeo - White Women

Recently I found myself reading an interview with Dave and Pee where they mention the influence of Helmut Newton and his book "White Women". As I read this things fell into place: the images used on the artwork for "Business Casual", their unique keyboard stands and the title for this album all suddenly made sense.

This record is the European version which was released on 180g double vinyl in 2014. This is another album I don't own on CD and this continues to cause me slight anxiety. It is worth noting that the running order on the vinyl is different from the CD and digital version. I presume this change was dictated by the amount of space on each disc and the desire to cut the album with as much dynamic range and volume as possible. The sound reproduction is good (without being outstanding) and there is little or no surface noise. 

Every successive Chromeo album raises the bar in terms of songwriting and production, and this one is no different. The production by the band and Oligee is excellent and as an admirer of Dave Bascombe, it was a pleasant surprise to see he mixed the majority of tracks. There are several pop orientated songs here and according to last.fm "Jealous (I Aint With It) remains their second most popular song amongst listeners. Another single "Old 45's" is the other significant highlight that would draw in the more casual listener. Personally, I like the final track "Fall Back 2 U" and their second collaboration with Solange Knowles "Lost On The Way Home". I can happily let this album play through from start to finish without feeling the need to skip a track. 4/5

One record at a time: 53. Chromeo - Business Casual

I was shopping one evening (more accurately I was following my wife around as she shopped for clothes) when this album began to play in a shop. I was aware the record had been released, but I had decided that there wasn't enough in Chromeo's previous efforts to warrant purchasing it. How wrong I was.

By track three (we were in the shop a long time) I had resolved to find the nearest record outlet and buy a copy immediately. 

Fortunately I didn't get to buy the CD that night as I may have just ended up with a vanilla copy of the UK CD. Instead I later acquired an imported copy of the deluxe edition from the USA. I have no idea where I bought the CD from, but I do remember enjoying it. In 2014 I ordered a copy of the vinyl from amazon. 

To my mind this album is where we finally meet the real Chromeo. The production is highly polished and there is an amazing confidence in the performance. Whereas previous albums featured a selection of semi-instrumental grooves, "Business Casual" contains nothing but highly competent songs with impressive vocals. Tracks such as "Night By Night", "Don't Turn The Lights On" and "I'm Not Contagious" combine toe tapping beats, clever hooks and a unique sense of humour. 

"When The Night Falls" sees Solange Knowles sing a couple of lines and some ad libs to great effect. As a composition this song is highly underrated and it deserves a wider audience. The next two tracks feature orchestral arrangements with "J’ai Claqué La Porte" being the most successful. So there isn't a bad track on the album but you might need a few plays to fully appreciate some of these ear worms. 4/5

One record at a time: 52. Chromeo - Fancy Footwork

I bough the CD of this album back in 2008, but this 10th anniversary vinyl came out in 2017. I seem to remember this was only released in North America and I had to import it at considerable expense. 

This is a double 180g, white vinyl edition which includes 7 additional remixes and is titled "Fancier Footwork". The sound is great but there are some brown smears on side one which detract from the visual appeal (without affecting the audio). In fact, I haven't bought many white records that are free of imperfection. It must be hard to manufacture.

On this LP, things have moved on a bit from their debut as, whilst the songs may not yet be as polished as later efforts, Dave seems to have found his voice. The title track is a good example of the band's increasing confidence to write and deliver their unique flavour of funk. If you compare the version of "Fancy Footwork" on this album to the recent live version on "Date Night", you can hear how Dave and Pee continue to turn up the wick and have developed into consummate showmen. This album was the first step on that journey to electronic funk perfection.

The only other tracks from this period that the band continue to play are "100%" and "Bonafide Lovin" which are good songs revealing an increasingly complex sonic pallet. Other highlights are "Momma's Boy" and "My Girl Is Calling Me (A Liar)" which demonstrate the bands sense of humour alongside their ability to create a stunning groove. 

I almost forgot. The second disc has remixes of various album tracks alongside a collaboration with D.J. Mehdi titled "I am Somebody". Surprisingly most of the remixes are very good and many have an element of the French house sound. The best tracks are probably the MSTRKRFT remix of "Tenderoni" and Lifelike's remix of "Needy Girl". 3/5

One record at a time: 51. Chromeo - She's In Control

I discovered Chromeo as they were a recommendation on last.fm based on my listening habits. I seem to have first dipped my toes in the water with "Needy Girl" and "Me and My Man" from their first album "She's In Control". 

As per my usual pattern before 2015, I bought the CD and acquired this vinyl more recently. The sound quality on this European double vinyl is best described as 'variable', but it is generally adequate.

Whilst this album has great songs with solid production, they sound rather sparse and a little naive when compared to the highly polished funk the band produce today. The beats are a little too 'retro' and some tracks fail to evolve further than the initial idea. There are a lot of instrumentals or songs that feature heavily processed vocals too. The real Dave One hadn't yet emerged from the chrysalis on "You're So Gangsta" or "Woman Friend". A personal favourite is "Rage!" which is a clear precursor to the catchy funk they would go on to perfect on albums like "White Women" and "Head Over Heels". Whilst I like this album, it serves more as a historical document to chart the rise of the band, rather than being amongst the Funklordz best. 2/5

One record at a time: 50. The Chemical Brothers - No Geography

We've finally come to the tenth and last LP by The Chemical Brothers in my collection, "No Geography". Personally, I'm not a fan of the artwork for this album and I can't understand why they have reused a photo from the booklet of a Godley and Creme album. It's not as if this image has particular artistic merit or conveys something no other photo could. Anyway, the packaging is OK and even the vinyl sounds good to say it is pressed by GZ Media.

As I dropped the needle and "The Eve of Destruction" began to play my 5 year old daughter ventured out of her room to ask, "What is that robot saying Daddy?" We skimmed over the rapping in Japanese. As confusing as this track may be, the bass guitar is brilliant and Mark Ralph deserves special mention. Whilst "Bango" and the title track tick along quite nicely, they are a mere prelude to the amazing sound of "Got To Keep On". I could listen to this song all day and it is definitely in my top 3 tracks the band has ever created. The visuals that accompany this song live are very effective and I was mesmerised by them when I saw the band live in 2019. 

Elsewhere "Gravity Drops" sounds like a bad copy of B12 and "Free Yourself" fulfils the quota for a song with annoying sample. "MAH" is an acid workout featuring a great sample from an old El Coco record and comes highly recommended. This album conforms to the usual Chemical Brothers formula of closing with something downbeat by including "Catch Me Falling". I generally find these tracks rather disappointing but this time it sounds like a perfect denouement. Like its predecessor, this album has relatively few collaborations with vocalists and it sounds all the better for it. I look forward to their next offering. 3/5

One record at a time: 49. The Chemical Brothers - Born In The Echoes

This album came out at a time when I made the momentous decision to stop buying CDs and concentrate on vinyl and digital files. Therefore "Born In The Echoes" is the first album by The Chemical Brothers that I don't own on CD. I still feel nervous about this; its almost as if I don't really own it without a shiny silver silver disc to prove it. 

Whilst the vinyl here seems to have eleven tracks, the digital version on my PC has two additional songs and two extended mixes. I'm not sure if the download is the one that came with the album or if it was acquired from, ahem, 'another source'.

I've seen people on the internet describing this record as sounding "nothing like a Chemical Brothers album", whilst others go as far as branding it their worst work. Conversely you can also find praise for the typical nineties big beat sound of tracks such as "I'll See You There" and "A Taste of Honey" and the album in general.

The dichotomy of opinion on the album is illustrated quite well by the track "Wide Open". This collaboration with Beck is rightly lauded as the best song on the album, but it is also criticised for being 'pop' and not conforming to the typical Chemical Brothers sound. Seems you just can't win.

Personally I like a lot of what this album has to offer. The afore mentioned "Wide Open" is indeed the best track on here, but "EML Ritual", "Go" and "Sometimes I Feel So Deserted" are also great tracks. "Reflexion" revives The Chemicals love of an really annoying synth riff (à la "Swoon") but they just about get away with it.

This album has a more 'electronic' feel and I really like that. The more typical nineties sounding tracks on this album are probably the weakest as they are put into such stark contrast by the superlative "Wide Open". The Chemical Brothers probably took big beat to some kind of zenith in the late nineties and I really don't need another "Block Rockin' Beats". However, I do need another "Wide Open" and I for one hope that there will be another Beck collaboration one day. 4/5

One record at a time: 48. The Chemical Brothers - Further

I'm not terribly familiar with this album, so I'm guessing there must have been a lot of good music around when it was released in 2010. A quick look at my last.fm scrobbles tells me I was listening to a lot of Orchestral Manoeuvres In The Dark (they'd just released "History of Modern" after a 14 year gap between albums), Goldfrapp's "Head First" also features and there is a smattering of Hot Chip. But no Chemical Brothers.

In fact, I could have sworn I didn't buy this album when it came out. Yet my Amazon account tells me I ordered the CD a week before it was released. I bought this re-press of the double vinyl in 2019 and again I was lucky enough to snag this for just £6. The cover image is much better served by the larger vinyl packaging but, disappointingly, the inners are plain black. This seems curious as all of the vinyl Chemical Brothers albums I have reviewed to this point had full colour inner sleeves. However, this may just be a reflection of the original pressing.

Interestingly, this record doesn't include any collaborations with other artists. Three or four tracks feature some great vocals by Stephanie Dosen, but she isn't given any writing credits. There are only 8 tracks but many have extended durations, so the play time is still a healthy fifty minutes or so. The longest track is "Escape Velocity" which is a progressive house / trance groove that employs a continuos cycle of build and release. Despite the twelve minute running time, the track flies by and never seems to get boring. Quite an achievement.

Single "Another World" continues the house orientated vibe and is one of my personal favourites. We get to hear Tom sing (I think) on the entertaining "Dissolve" before things go full "stadium house" with the magnificent "Horse Power". I like "Swoon" but the repeated synth riff begins to grate on me after a while. I can take or leave the last two tracks. Once the Chemicals give in to their slightly noisier rock sound, I lose interest. So another good album that has some epic tracks alongside some less interesting material. 3/5

One record at a time: 47. The Chemical Brothers - Brotherhood

This is the second singles compilation released by The Chemical Brothers, but it is the only one I own on vinyl. The CD of this album comes in a nice clamshell box with a second disc containing the Electronic Battle Weapon series (up to the time of release). This is a re-pressing of the double vinyl which simply carries the 15 tracks of the main album. Within the running order are two new tracks.

"Keep My Composure" features rapper Spank Rock and is rather good. All of the elements of a successful Chemicals track are here: sampled drums, bleeping synths and a deep driving bassline. The rap just adds some additional colour to Ed and Tom's astounding aural landscape.

When I looked at the Wikipedia article for this album I began to get a little confused. According to the oracle of modern thinking, this album is subtitled "The Definitive Singles Collection". Yet, "Keep My Composure" wasn't released as a single. Similarly, "Saturate" is included but it was never officially released as a single either.

Things become even more opaque when you consider this album omits a number of singles that were released. "Get Yourself High", "Life is Sweet", "Music:Response" and "The Boxer" come to mind immediately. Some of the singles that are included seem to be presented in different versions too. "Believe" is the 'extended' mix and I think "Star Guitar" is an edit of the album as opposed to the original single edit.

"Midnight Madness" (aka Electronic Battle Weapon 10) was released as a single but probably shouldn't have been. The version on this album has had almost 5 minutes trimmed from the original Battle Weapon version, but it still bores me.

I looked at the artwork of the album to find no mention of "The Definitive Singles Collection". Having discounted the irrational thought that Wikipedia may not be correct, I did notice my original CD has a promo sticker with the claim and Discogs shows the original pressing of the vinyl also had a similar sticker. I wonder if the album was edited as a "Best Of" and some bright spark in the marketing department at Virgin had the idea of applying stickers with the strange subtitle. Anyway...

If you don't own any records by The Chemical Brothers, you could do worse than starting with this one - but there's not a lot to justify the outlay for the initiated. 4/5

One record at a time: 46. The Chemical Brothers - We Are The Night

"We Are The Night" came out in 2007. I type this fact without checking and with absolute certainty as this album formed part of the soundtrack to one of the most tumultuous years of my life. Like many of us, music is one of the crutches I rely on in times of uncertainty and listening to this album helped keep me afloat psychologically. 

This double vinyl copy was purchased much later in 2018 and features a different cover to the original release. This is another record that I have never played and the cellophane remained intact until this play through. Like all of the Chemical Brothers records I have written about recently, this pressing has good sound quality and is well presented.

Reading the Wikipedia article for this album reveals that there were some less than favourable reviews at the time of release. I think there may have been a bit of a changing of the guard when it came to 'trendy' electronic music in 2007. Artists such as Simian Mobile Disco, Justice and Digitalism had emerged and became the darlings of certain commentators and journalists. The accusation seemed to be The Chemicals were ploughing the same furrow they had ten years before and there were new kings in town. 

Yet, in 2021, having released a run of disappointing albums, Simian Mobile Disco have gone on hiatus, Justice seem to be concentrating on DJing and Digitalism have only released three albums in fifteen years.

Seeing The Chemical Brothers live is quite an experience

The Chemical Brothers on the other hand continue to tour, remix and release new material at a consistent pace. Having seen the band live supporting the "No Geography" album in 2019, I can attest to their longevity and their unparalleled ability to create amazing new music. Personally, I never thought The Chemicals were recycling; it always sounded like they were innovating to me. Yes, they clearly had a unique sound, but it was constantly evolving and moving between genres. The difference between "Exit Planet Dust" and "We Are The Night" is obvious and, in places, quite stark. 

My favourites here are "Saturate", "Burst Generator" and the single "Do It Again". As usual is usual with a Chemicals album, the weaker tracks are the collaborations. "Battle Scars" and "The Pills Won't Help You Now" meander along without making much impression, but they aren't offensive to the ear at least. The jury is still out for "The Salmon Dance". I can't decide if it is absolute garbage or incredibly clever. 3/5

One record at a time: 45. The Chemical Brothers - Push The Button

This entry takes us to about halfway through my collection of vinyl by The Chemical Brothers. Like "Come With Us" I bought this album on CD when it was released and I somehow managed to acquire the double vinyl edition in 2019 for only £6. This pressing sounds pretty good with no surface noise or distortion. Even if it did have flaws, at £6, I wouldn't argue.

I don't listen to this album much. This is surprising given that the ratings in my digital media player for these tracks show a high number of four and five out of five scores. The singles "Galvanise" and "Believe" are obvious stand outs but "The Big Jump", "Marvo Ging" and "Surface To Air" actually outscore them. There isn't a bad track on this album really. The only slight flat spot is "Close Your Eyes", but even this is better than some of the collaborations on other albums.

This record stands apart from some of its predecessors as, not only is it consistent, but it is somehow joyful and uplifting. For once all the vocal collaborations seemed to work and any stylistic boundaries are negotiated with ease. Whilst there is a strong hip-hop influence present, all the elements of big beat and house regular listeners will be accustomed to are on display. I really must listen to this album more often. 4/5

One record at a time: 44. The Chemical Brothers - Come With Us

As with many of the records I have reviewed, I bought this album on CD at the time of release and only acquired the vinyl more recently. 

I bought this particular record in 2018 from the Universal Records website for the bargain price of £6. A brand new, double vinyl album, delivered to my door for a little under £10 still seems like an impossibly low price. But then the balance was partially redressed a year later when I bought the 20th anniversary CD edition of "Surrender" for £40 only to see it sold off for £15 a short time later. It's swings and roundabouts.

In 2002, lead single "Star Guitar" seemed to signal a move towards a deeper house sound and I assumed the forthcoming album would reflect this. However, I think there is actually a much stronger disco feel on this album and "Star Guitar" is a bit of an anomaly.

The title track starts proceeding in grand style and sounds fabulous coming from vinyl. "It Began In Africa" becomes slightly annoying as it over uses the titular sample, but it is worth a listen for the percussion madness created by Shovell. "Galaxy Bounce" and "My Elastic Eye" are more typical Chemical Brothers tracks which exude a pleasing familiarity.

"Hoops" utilises TR-808 hip hop grooves, acoustic guitar samples and some horrible vocals. Even if I put aside my aversion to acoustic guitar, this track still does little to justify its six minute run time. Essentially it just goes round and round in circles. "The State We're In" is another disappointment that doesn't work until it segues into the camp disco beats of "Denmark". There are more disco stylings on "Pioneer Skies" but the influence is distinctly Gallic this time. Final track "The Test" is just too rock for me and leaves me cold. I guess it was released as a single because Richard Ashcroft sells a lot of records (or at least did at the time), but there is nothing musically to justify that choice. Aside from a few unpleasant vocal tracks, there is much of merit on this album. However, make no mistake, "Star Guitar" remains the main attraction. 3/5