The Chemical Brothers interview, July 2003
The following is an interview with Tom Rowlands from The Chemical Brothers, from the Creamfields website, in advance of the Chems appearance at the UK dance music festival in August 2003.
THE CONFIRMATION OF YOUR RETURN TO
CREAMFIELDS - A WHOLE THREE YEARS AFTER YOU LAST SET THERE, ITS COME PRETTY LATE
HASN’T IT?
It has been fairly hush-hush, though I’m sure it adds a little bit of
excitement. But we played for Bugged Out! over in Manchester recently and, as
that wasn’t announced until pretty late, we were actually able to go on
without a fair amount of hoo-ha.
SURELY THERE’S NOWHERE YOU CAN PLAY THESE DAYS AND NOT EXPECT NO FUSS THOUGH?
We do our Glint parties in London and they’re a fairly simple affair. They
still go off but it’s on such a smaller scale to, say, when we play live.
Having that variation with the events that we’re involved in is what keeps us
interested. So touring, for example, can be quite pressured- there’s a big
crew of people involved and we have to pack up the whole studio. And while we
love what we get out of that, it’s great to just pick up the record box and go
and play some tunes.
YOU’RE HEADINLING THE BUGGED OUT! ARENA AND HAVE A LONG-STANDING RELATIONSHIP
WITH THE CLUB, WHAT MAKES THEM SO SPECIAL FOR YOU?
The people involved really. We go way back. Johnno and Paul of Bugged Out were
mates at college. Then they created this club that was defined by its commitment
to brilliant new music. Maybe even more importantly, they made it fun which, at
that time, was revolutionary as those nights that leant towards techno were
usually quite serious affairs.
DO YOU FEEL AN AFFINITY WITH THE OTHER DJS AND ACTS SHARING THE STAGE?
Well, Justin Robertson was absolutely instrumental in mine and Ed’s musical
development. Right from when he worked in Manchester’s Eastern Bloc and sorted
us out with our records each week. His Most Excellent night was then also really
influential. Also, he was a southern boy who’d headed up north and, in that
way, he was just like us. When he started remixing and producing records, he
proved inspirational again and again.
WHAT ABOUT THE REST OF THAT LINEUP?
It’s quality. Rob Bright! (Excitedly) Brighty! Another good bloke! Theyr’e
all people who you can respect for being committed to their music but, just as
much, they’re always really entertaining.
YOU’LL BE CHECKING THEM OUT YOUSELF THEN?
Yeah. And Dave Clarke’s playing his debut live set, isn’t he? I’m
definitely up for that! It’s been a long time coming. He’s an astounding DJ
and I love the way he puts his records together so I’m intrigued to see his
take on live electronic music. I’m sure that will go right off.
WHO, IF ANYONE, WILL BE TEMPTING YOU AWAY FROM THAT ARENA?
I’ve seen Massive Attack a few times and they’re great. I’m hoping that
we’re not on at the same time as I really want to check them out. James
Lavelle’s UNKLE Sounds too. It’s funny because years ago we were flipping
over these hip hop records for the instrumental versions with the weird effects
until his Mo Wax started having them on the A-side- like on DJ Shadow’s ‘In
Flux’. His approach was really in tune with us then. And now that he’s
making these epic albums filled with collaborations and plays a real dancefloor
set, there’s still some similarities there.
WHAT ABOUT AUDIO BULLYS? IHEARD THEM TIPPED AS THE ‘NEW CHEMICAL BROTHERS’
ONLY LAST YEAR:
(Laughs) But I remember there was a magazine article years ago that claimed Daft
Punk were ‘the new Chemical Brothers’ and then, a bit later, Basement Jaxx
were saddled with the same title. Obviously, they both outgrew that tag pretty
quickly. But then we did too- y’know, back when… when we were cited as
‘the new Orbital’ (laughs again).
BUT, IN FACT, LIKE ORBITAL’S HARTNOLL BROTHERS YOU HAVE GONE FROM PLAYING
SWEATY LITTLE BASEMENTS TO BECOMING A STADIUM-PACKING NAME, HAVEN’T YOU?
Strange, isn’t it? I actually saw Orbital play at Glastonbury years ago and
there was so much controversy in the lead up to their set because a dance act
were closing a big rock festival. But it worked. And since then, things have
changed. And, admittedly, we’ve also played a part in that. ‘Block Rockin
Beats’ made radio programmers reconsider their playlists after it went to
number one. Suddenly, this record that even we’d never considered to be
anything to do with pop music was the best selling record in the country. And
because we’ve had such success, we have the belief that we can now play
anywhere. I mean, we’ve gone on immediately after the Red Hot Chilli Peppers.
We now know that electronic music can work on that level. ‘Hey Boy Hey Girl’
pumps up and everyone’s just like ‘Yeah! Let’s do it!'
AH, YEAH. ARE WE RIGHT IN SAYING THAT THERE IS A FAIR BIT OF SELF-PROMOTION
INVOLVED WITH ONE OF YOUR DJ SETS?
The one artist who makes up the bulk of our set IS called The Chemical Brothers
(laughs). It’s not that shameless though. I’m sure most people wouldn’t
know that they’re our tracks. And even if they did, most of the DJing material
isn’t actually for sale.
YOU ALSO HAVE A HABIT OF ADOPTING THE ODD RECORD WHICH SUBSEQUENTLY BECOMES A
CHEMS SET STANDARD FOR SOME TIME. BACK IN THE DAY, WASN’T IT JOSH WINK’S
‘HIGHER STATE OF CONSCIOUSNESS’? THEN, MORE RECENTLY, TRISCO’S ‘MUZAK’,
FUNK D’VOID’S ‘DIABLA’, ‘THE JAZZ’ BY THE MICRONAUTS AND
UNDERWORLD’S ‘KITTENS’?
Actually, we’ve only just dropped ‘Kittens’ from the set. But we can
continue championing certain records in a way that other DJs can’t. People
aren’t expecting us to just play all the upfront tracks and keep emptying our
boxes of those records that we love. If we believe in a piece of music, we’ll
continue to support it. The Micronauts track, for instance. That goes everywhere
with us. It has done since we got it. We still play loads of test pressings of
other peoples stuff alongside our own, but it’s usually those records that
no-one else is touching.
AS A RESULT, IT IS ALMOST AKIN TO YOU PLAYING LIVE IN AS MUCH AS AN AUDIENCE
WILL GET TO HEAR THE CHEMICAL BROTHERS. YOUR INIMITABLE TASTE ALONGSIDE YOUR
ACTUAL MUSIC. AND FROM SONG TO THE SIREN, TO YOUR UPCOMING FLAMING LIPS
COLLABOARTION ‘THE GOLDEN PATH’, YOUR OWN WORK GOES DOWN BEST, DOESN’T IT?
Yeah, but having that actual angle probably makes up for the fact that we’re
not the most technically gifted DJs. We’re not like Danny Howells or John
Digweed who are able to programme a seamless set. The key to our DJing is that
we’re musicians who make records. That’s our pull, I guess. The DJing feeds
our music and the music we make also feeds our sets. It’s the one really
special thing about us as DJs. We’ll play records of ours that haven’t come
out yet, early versions of tracks that have already been massive for us, obscure
remixes and one-off cut-ups for our own use including those ‘Electronic Battle
Weapon’ things. But that’s actually how we started out producing by making
the kind of records that we wanted to play out.
BUT THEN, AGAIN RATHER IMPRESSIVELY, YOU’VE NOT GOT TOGETHER ENOUGH OF THOSE
TRACKS TO WARRANT A GREATEST HITS PACKAGE?
Well, we’re not really calling it ‘Greatest hits’. There’s a singles
collection coming out to mark the fact that we’ve been at this for ten years
now. Me and Ed have been listening back through the stuff lately while putting
it together and, I must admit, I do feel rather proud. ‘Chemical Beats’,
‘Setting Sun’, ‘Private Psychedelic Reel’; y’know, they’re all still
good records.
NOSTALGIA? WE THOUGHT YOU GUYS ONLY LOOKED FORWARD.
Actually, we’ve also created seven pieces of new music that will form the
basis of our next proper album.
WHAT DOES THAT SOUND LIKE?
It’s really different. We’ve had this creative burst and put together what I
think is the best music we’ve ever produced. I guess that we’ve begun to
make the records that we’ve hinted at making for years. That track with
Canadian rapper K-OS for example (as featured on ‘Singles 93-03’), is the
kind of fluid, trippy, acid hip hop thing that we’ve been wanting to do for
ages.
BECAUSE THERE WAS TALK OF YOU WORKING WITH EVE AT ONE POINT WASN’T THERE?
That kind of happened in as much as we were sent a recording of her rapping over
‘Hot Acid Rhythm 1’ (the Chems’ B-side to ‘It Began In Afrika’). We
wanted to take it back to the studio and rework what she’d done and then there
was plans for it being used on a film soundtrack. Only me and Ed missed the
deadline and it became one of those that fell by the wayside.
AND DOESN’T THIS SINGLES COLLECTION ACTUALLY HAVE SOME OF YOUR HARDER TO FIND
WORK ON IT TOO?
That was the most exciting part of it for us. We had the opportunity to go back
through all these old tapes and dig out versions that we’d long since
forgotten about. There’s a version of ‘Life Is sweet’ called ‘Delic’
for example. That one’s really strange. There’s also a track called ‘The
Duke’ that didn’t make it onto ‘Come With Us’. That one’s been getting
played out a lot lately.
WASN’T THERE TALK A WHILE BACK THAT THE WHOLE ‘TRIBAL’ THING WAS PROVING
INSPIRATIONAL?
It was one of those things where we’d not heard Danny Tenaglia play but we’d
heard so much about what he does. That whole hypnotic thing really appealed to
us. Y’know, that out-of-body thing that people were rumoured to have
experienced at his club. So we took our own idea of what that was and made ‘It
Began In Afrika’ which was a concept based on this primitive percussion that
was sent into space. Then when we encountered the whole tribal thing first hand,
we realised that we were a bit off the mark. The reality of it wasn’t nearly
as wigged-out as we’d hoped.
But it’s events like Creamfields that actually do give us chance to see what
else is going on out there right now. We can finally check out all those DJs
we’ve been hearing so much about. That’s what the festivals are all about
for us.
And, y’know, we might just find ourselves in the hard house tent all night
nodding to each other going 'yes, this is surely the future of music'.
REALLY?
Well (rather unconvincingly) you never know.