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The Chemical Brothers are an English electronic music duo[1] formed by Ed Simons and Tom Rowlands in Manchester in 1992.[2][3] They were pioneers in bringing the big beat genre to the forefront of pop culture.

Key Information

Originally known as The Dust Brothers, they changed their name due to the existence of another band with the same name.[4] Their first album Exit Planet Dust sold over one million copies and debuted at No. 9 on the UK Albums Chart. After attracting Virgin Records, the duo achieved further success with their second album Dig Your Own Hole (1997), which topped the UK chart. They have had six No. 1 albums and 13 top-20 singles in the UK, including two chart-toppers. They have won six Grammy Awards, including Best Rock Instrumental Performance, Best Dance Recording, and Best Dance/Electronic Album.[5]

History

[edit]

1984–1995: Formation and early incarnations

[edit]

Ed Simons (born 9 June 1970) was born the son of a barrister mother and a father he described as "absent".[6] After finishing at Dulwich College, an "expensive" public school with 11 O levels and three A levels, he studied history, at the University of Manchester.[6][7]

Tom Rowlands (born 11 January 1971) was raised in Henley-on-Thames having attended Reading Blue Coat School in Sonning-On-Thames. He met Simons at the University of Manchester in 1989; they shared an interest in raves and club-going.[8] Rowlands chose Manchester primarily to immerse himself in its music scene, particularly the Fac 51 Hacienda.[9]

Rowlands was in a band called Ariel prior to meeting Simons.[3] He formed Ariel in London with friends Brendan Melck and Mathew Berry. Their first single was "Sea of Beats", which was essentially a white label record. Before Philip Brown set up Echo Logik Records, their first promo was "Bokadilo". Other songs, released on 12-inch, included "Mustn't Grumble" and their best-known, "Rollercoaster".[3] After a year on Echo Logik they signed to the record label deConstruction. They insisted on a female singer and they recruited former Xpansions frontwoman Sally Ann Marsh, and after some disappointing songs such as "Let It Slide" (Rowlands would later describe it as "a stinker"), the band fell apart. One of the last things Ariel did was the song "T Baby", which was remixed by the pair.

Rowlands and Simons started to DJ in 1992 at a club called Naked Under Leather, located in the back of a pub called the Swinging Sporran (later renamed Retro Bar and currently operated by the University of Manchester[3]). There, they were known by the alias "237 Turbo Nutters",[8] after the number of their house on Dickenson Road in Manchester and a reference to their Blackburn raving days. The pair would play hip hop, techno, and house.[10] The two called themselves The Dust Brothers[3] after the US production duo, famous for their work with the Beastie Boys. After a while, Rowlands and Simons began to run out of suitable instrumental hip hop tracks to use, so they started to make their own. Using a Hitachi hi-fi system, an Atari ST, a sampler, and a keyboard, they recorded "Song to the Siren", which sampled This Mortal Coil.[11] "Song to the Siren" was released on their own record label, which they called Diamond Records (after Ed's nickname). At this point the Dust Brothers were the first-ever backroom DJs in the Sumptuous Locarno Lounge at The Job Club in Gossips night club in Dean Street, Soho from April 1992 till April 1993.

In October 1992, they pressed 500 white label copies and took them to dance-record shops around London, but all refused to play it, saying it was too slow (the track played at 111 BPM). They sent a copy to London DJ Andrew Weatherall, who made it a permanent fixture in his DJ sets. In May 1993 Steven Hall signed the duo and Junior Boy's Own released "Song to the Siren".[3]

Around June 1993, the Dust Brothers recorded their first remixes. The first was "Packet of Peace" for Justin Robertson's Lionrock group, followed by songs from Leftfield, Republica, and the Sandals. Later in 1993, Rowlands and Simons completed work on their Fourteenth Century Sky EP, released in January 1994.[3] It contained the groundbreaking "Chemical Beats", which epitomised the duo's genre-defining big beat sound.[3] The EP also contained "One Too Many Mornings", which for the first time showed their less intense, more chilled-out side. Both "One Too Many Mornings" and "Chemical Beats" would later appear on their debut album. Fourteenth Century Sky was followed later in 1994 by the My Mercury Mouth EP.[3] "Chemical Beats" was also part of the soundtrack for the first edition of the Wipeout video game series, having been featured in Wipeout for the PlayStation in 1995.

In October 1994, the Dust Brothers became resident DJs at the small but influential Heavenly Sunday Social Club at the Albany pub in London's Great Portland Street.[8] Noel Gallagher, Paul Weller, James Dean Bradfield, and Tim Burgess were regular visitors. The Dust Brothers were subsequently asked to remix tracks by Manic Street Preachers and the Charlatans, plus Primal Scream's "Jailbird" and the Prodigy's "Voodoo People". These two remixes received television exposure, being playlisted by MTV Europe's "The Party Zone" in 1995.

In March 1995, the Dust Brothers began their first international tour, which included the United States – where they played with Orbital and Underworld – then a series of European festivals. Also around this time, objections were filed by the original Dust Brothers over the use of their name, and so Rowlands and Simons had to decide on a new name.[3] They decided to call themselves the Chemical Brothers after "Chemical Beats".

In June 1995, they released their fourth single, the first under their new identity. "Leave Home" was released on Junior Boy's Own, as a preview of the imminent debut album and became the band's first chart hit, peaking at No. 17.[3]

1995–1998: Exit Planet Dust and Dig Your Own Hole

[edit]

In July 1995, the Chemical Brothers released their debut album Exit Planet Dust (the title inspired by their name change) on Junior Boy's Own. It debuted on the UK chart at No. 9,[3] and featured guest vocalist Beth Orton on the song "Alive Alone". It eventually went on to sell over a million copies worldwide, and was used on the soundtrack of the science fiction TV series pilot Virtuality. Shortly after its release, the Chemical Brothers signed to Virgin Records, to which they took their own offshoot label, Freestyle Dust. For their next single, "Life Is Sweet", released in September 1995, they again used a guest vocalist, featuring their friend Tim Burgess, singer of the Charlatans. It reached No. 25 in the UK singles chart.[3] The single was also Select magazine's "Single of the Month" for October.[12] The release included a Daft Punk remix of "Life Is Sweet".

In October 1995, the duo returned to the Heavenly Sunday Social for a second and final run of DJ dates. They then became residents of Heavenly Social on Saturdays at Turnmills and also in Liquid Rooms in Tokyo. In November, the Chemical Brothers played the Astoria Theatre in London. The duo also supported The Prodigy in December on dates at Brixton Academy and in Blackpool.

In January 1996, Exit Planet Dust was certified gold. The Chemical Brothers released their first new material in six months on Virgin, the Loops of Fury EP. The four-track release was limited to 20,000 copies, but is now available for digital download. It entered the UK chart at No. 13. NME described the lead track as "splashing waves of synths across hard-hitting beats". The EP also contained a Dave Clarke remix of "Chemical Beats", and two other new tracks, "Get Up on It Like This" and "(The Best Part Of) Breaking Up".

In February 1996, Select magazine published a list of the 100 best albums of the 1990s thus far. Exit Planet Dust was listed at Number 39. In August 1996, the Chemical Brothers supported Oasis at Knebworth, where 125,000 people attended each of the two shows.

During the 1995 Glastonbury Festival, Noel Gallagher had told them how much he liked Exit Planet Dust, and asked if he could sing on a future track, similar to the way Tim Burgess had worked on "Life Is Sweet". They did not think much of the offer at the time, given how busy Gallagher would be with the release of Oasis' (What's the Story) Morning Glory?, plus the complexities of dealing with each other's record companies. However, the duo later worked on a track they thought would benefit from a vocal. They sent Gallagher a tape of what they had done so far. He worked on it overnight, and left a message early next morning that he was ready to record it. The track was called "Setting Sun" and was finally released in October 1996. It entered the UK chart at the top, giving the duo their first ever No. 1 single.[3] "Setting Sun" was backed by a longer instrumental version, and also a new track "Buzz Tracks", which was not much more than a DJ tool. The three remaining members of the Beatles' lawyers later wrote to the Chemical Brothers, mistakenly claiming they had sampled "Tomorrow Never Knows". Virgin Records hired a musicologist to prove they did not sample the song.

In 1996, Live at the Social Volume 1 was released by Heavenly Records, which became the Chemical Brothers' first mix CD (excluding Xmas Dust Up, a free album that came in a 1994 issue of NME). It was also the duo's first live album (excluding the EP Live 05).

In March 1997, the Chemical Brothers released the second track from their forthcoming album. "Block Rockin' Beats" contained a Schoolly D vocal sample and re-working of the bass-line from 23 Skidoo's single "Coup".[13] The NME named it "Single of the Week" and said: "It throbs like your head might if you had just done a length underwater in a swimming pool full of amyl." It later won them a Grammy Award for Best Rock Instrumental Performance.[14]

In the US at this time, "Setting Sun" was sitting at Number 80 in the Billboard Hot 100, after selling around 80,000 copies. Sales from Exit Planet Dust were also around 150,000.

On 7 April 1997, the Chemical Brothers released their second album, Dig Your Own Hole. It was recorded at the band's own south London studio, with the title taken from graffiti on the wall outside. The album was well received,[15] with Mixmag rating it 10/10 and calling it "mad enough to be thrilling, slick enough for not even remotely trendy coffee tables".

During the summer of 1997, the Chemical Brothers toured extensively, particularly in the United States. In August, the Chemical Brothers achieved a rapprochement with the US Dust Brothers, and asked them to remix the forthcoming single "Elektrobank". They themselves also became highly sought after for remixes for other artists. In September, the next single from Dig Your Own Hole, "Elektrobank" was released. In November, the pair played at Dublin's Point Theatre, with support from Carl Cox. They also began a US tour in Detroit.

At the end of the year, Dig Your Own Hole's final track, the nine-minute-long "The Private Psychedelic Reel", gave rise to a limited-edition mini-EP of the same name. The B-side consisted of a live version of "Setting Sun", recorded at the Lowlands Festival, Netherlands on 24 August 1997. Also in December, following four sold-out US shows, the Chemical Brothers toured the UK, concluding in a sold-out show at Brixton Academy, London.

In 1998, they concentrated more on DJing, although some remixes did see the light of day, including "I Think I'm in Love" from Spiritualized. Both a vocal remix and an instrumental remix were included in the single release. Each clocked in at over seven-and-a-half minutes. Another remix completed by the Chemical Brothers was "Delta Sun Bottleneck Stomp" by Mercury Rev. This was another extension in the association between the two bands, since Mercury Rev's Jonathon Donahue contributed to "The Private Psychedelic Reel" on Dig Your Own Hole.

In September 1998, a second mix album, Brothers Gonna Work It Out, was released. It contains some of their own tracks and remixes, as well as songs from artists who have influenced their sound, such as Renegade Soundwave, Meat Beat Manifesto, Carlos "After Dark" Berrios, and Kenny 'Dope' Gonzales.

1999–2002: Surrender and Come with Us

[edit]

In May 1999, the Chemical Brothers played three UK dates, their first since December 1997. Also that month, they released their first new original material in two years, a track called "Hey Boy Hey Girl". This was more house-influenced than big beat. In interviews at the time, Rowlands and Simons indicated that the track was inspired by nights out at Sheffield club Gatecrasher. The track was also one of their more commercially accessible tracks and went to number 3 in the UK chart.

Their third album, Surrender, was released in June 1999. It featured vocals from Noel Gallagher, Mercury Rev's Jonathan Donahue, and Mazzy Star's Hope Sandoval. As "Hey Boy Hey Girl" had suggested, the album was more house-oriented than the previous two. On one of the album's stand out tracks, "Out of Control", New Order's Bernard Sumner supported by Primal Scream's Bobby Gillespie provided vocals. It reached No. 1 in the UK Albums Chart. The Michel Gondry-directed music video for "Let Forever Be", which utilised ground-breaking video and film effects in its depiction of a young woman's nightmares, also received a lot of attention.

Later that summer, the Chemical Brothers performed at the Woodstock '99 concert on 24 July, with positive reception. They later headlined the Glastonbury dance tent on the Friday night, followed by a UK tour which ended in December and included Homelands Scotland on 4 September. In November, "Out of Control", featuring Sumner and Gillespie on vocals, was released as a single. The release also contained the Sasha remix. The final single from Surrender, in February 2000, was the five track "Music: Response" EP, containing the title track and two remixes, plus Electronic Battle Weapon 4, named "Freak of the Week", and a track called "Enjoyed", which was essentially a remix of "Out of Control" by the Chemical Brothers themselves. A CD copy of Surrender was placed in the third Blue Peter time capsule, buried in January 2000. That same month, they appeared on Primal Scream's album Xtrmntr at track 11 with a remix.

In June 2000, they played the Pyramid stage at the Glastonbury Festival. In August 2000 they played to a large crowd at the main stage at Creamfields festival, Ireland. In December 2000, the Chemical Brothers aired one of their new tracks, "It Began in Afrika" at their New York DJ gigs, supporting U2.

In 2001, they were active with releases and live performances. Early in the year, they began working on a fourth album, provisionally titled Chemical Four. The first track which fans got a taste of was "It Began in Afrika", as previously played in their DJ set in New York. The track would make its live debut in California in April 2001, at the Coachella Valley Music and Arts Festival. Another new track, "Galaxy Bounce", also got its public debut at Coachella. As had become customary for their releases and experiments, "It Began in Afrika" was first pressed as a promo, as part of the "Electronic Battle Weapon" series. It received much airplay on dance music radio shows in the UK, and became more and more popular in clubs over the course of the summer. It also became one of the "anthems" in Ibiza as the summer progressed. It was given a full commercial single release in September, reaching No. 8 in the UK singles chart, even though no promotional video was made for the track.

Rowlands and Simons also remixed a track from Fatboy Slim's Halfway Between the Gutter and the Stars, entitled "Song for Shelter". This remix was released as a single on 3 September 2001 (one week before "It Began in Afrika") as the CD2 single for "Song for Shelter / Ya Mama". It reached No. 30 in the UK singles chart (sales were combined with the CD1 single).

The Chemical Brothers finished work on another album, Come with Us, in October 2001. It featured collaborations with Richard Ashcroft of the Verve ("The Test"), and long-time collaborator Beth Orton ("The State We're In"). The album was released in January 2002, preceded by a single, "Star Guitar", a melodic Balearic beat number, with a promotional video by Michel Gondry that featured passing scenery synchronised to the beat viewed through a train window. What would be the second track on the album, "It Began in Afrika", was released 10 September 2001 to be circulated around the clubbing scene where it was a popular hit. "Star Guitar" was also released as a DVD single, the pair's first. Come with Us, was less well received than their previous albums, but nonetheless went straight to No. 1 in the UK Albums Chart in the first week of its release, selling 100,000 copies. In April, the title track from the album was released as a single with remixes by Fatboy Slim as part of a double A-sided release with "The Test".

During the summer of 2002, the Chemical Brothers travelled the festival circuit to promote the album. Later in 2002, they released two EPs, one specifically aimed at Japan and the other the US (entitled AmericanEP). Both contained remixes, live versions and B-sides. Additionally, the band produced New Order's "Here to Stay", written for the film 24 Hour Party People and released as a single to promote the soundtrack, and remixed the song as well. One of their other major songs from this album was "Galaxy Bounce", which was popular and featured as the main title music for the Xbox game Project Gotham Racing. It was also included on the soundtrack for the movie Lara Croft: Tomb Raider. "Star Guitar" was featured as a song on the PlayStation Portable's Lumines II.

Two other songs, "Come with Us (Introduction)" and "Star Guitar (Title Screen)", were featured on a PlayStation 2 racing game titled WRC II: Extreme. Both songs are instrumental. The song "My Elastic Eye" from the album Come with Us was played in the 2004 film The Butterfly Effect[16] starring Ashton Kutcher and Amy Smart.

2003–2006: Push the Button

[edit]

Early 2003 saw Rowlands and Simons back in the studio working on new material, including "The Golden Path", a collaboration with Wayne Coyne of the Flaming Lips. This was released in September 2003, at the same time as a "best of" album, entitled Singles 93–03, marking ten years of the Chemical Brothers' releases. Singles 93–03 included most, but not all, of their singles. A second new track, in addition to "The Golden Path", was included on the album, called "Get Yourself High". Singles 93–03 was also released on DVD, with extra features including selected live performances and interviews with Rowlands, Simons, and many of their collaborators from throughout the period. "Get Yourself High", which featured Canadian rapper k-os on vocals, was released as a single in November 2003.

In late 2003 and 2004, the Chemical Brothers continued to work in the studio on new material and a remix of "Slow" by Kylie Minogue. After being released on rare white label vinyl, it was subsequently given a commercial release in March on CD (on her next single "Red Blooded Woman") and on 12-inch vinyl picture disc (containing two other Minogue remixes). In Summer 2004 they returned to the festival circuit, including appearances at the Glastonbury Festival, Tokyo, Scotland, and Ireland. They also visited South America for the second time (the first time being in 1999), arriving at Chile, Argentina, and Brazil. It was during these sets that they played new material, including "Acid Children", which proved to be one of the most popular new tracks.

In September 2004, the Chemical Brothers released the seventh "Electronic Battle Weapon". "Electronic Battle Weapon 7" was being released as a one-sided promo-only 12-inch, containing "Acid Children". A marked departure from the Chemical Brothers' previous musical endeavours, it featured a screeching 303 bassline and a distinctive vocal sample; a pitch-altered vocal sample proclaiming "You Are All My Children Now!", which is lifted from the horror film A Nightmare on Elm Street 2: Freddy's Revenge. It was coupled with the projection of a sinister clown mouthing these same words at their live gigs.

The "Electronic Battle Weapon" series of promo releases have typically been newly recorded Chemical Brothers tracks, released on promo to allow DJs to test them in a club environment, and to gauge their popularity.

In 2004, the Chemical Brothers began work on Push the Button, their fifth studio album, which features collaborations with Tim Burgess, Kele Okereke, and Anwar Superstar, amongst others. The album was released on 24 January 2005.

"Galvanize", which features rapper Q-Tip on vocals, was the first single to be taken from Push the Button, and premiered on iTunes. The single was released on 17 January 2005, and entered the UK chart at No. 3. The second single, "Believe" (featuring Kele Okereke from Bloc Party), failed to crack the top 10, but still made it into the top 20, peaking at No. 18. "The Boxer", featuring Tim Burgess, became the duo's first single to fail to crack the top 40.

The album and single "Galvanize" won a Grammy at the Grammy Awards of 2006. The track "Surface to Air" features a pulsing chord progression and bassline reminiscent of the intro to the Strokes song "The Modern Age".[17]

An unofficial, remixed version of the album entitled Flip the Switch was released as a free download, along with the Believe EP, featuring six further remixes of "Believe".[18]

In September 2006, the Chemical Brothers were revealed as the first musicians to be involved in Tate Tracks.[19][20] Tate Modern invited various groups and songwriters to choose a work that inspired them from the gallery's collection of modern art and then write a track about it. The Chemical Brothers' submission, Rock Drill, was inspired by the Jacob Epstein sculpture Torso in Metal from the Rock Drill, and could be heard on headphones in front of the work in the gallery.[19] From October 2006, it also became available to hear online at the Tate Tracks website.[19]

2007–2009: We Are the Night

[edit]

The Brothers announced in June 2006 on their official web forum that the duo had been working on new material, specifically an album, code-named "Chemical 6".[21] Simons also wrote that the band would be playing select venues in the Summer 2007 season, specifying Rome, and also Fabric in London. Simons was also quoted as saying that the duo were "hoping to put a battle weapon out for the summer",[22] possibly referring to the Electronic Battle Weapon series, the somewhat experimental tracks the band occasionally released on white label record.

"Electronic Battle Weapon 8" and "9" were debuted on Pete Tong's BBC Radio 1 show on 8 December 2006. The double-sided vinyl was finally released just before the Chemical Brothers' much anticipated New Year's Eve gig at the famous Turnmills in London. The vinyl had a limited edition release worldwide and was received well by fans, DJs, and critics alike. "Electronic Battle Weapon 8", at about six and a half minutes, was very distinct from the "big acid" style that the earlier "Electronic Battle Weapons" adhered to. It was characterised by 'thundering' drums with a rising synth line. A version of this track featured on the We Are the Night album and was entitled "Saturate". "Electronic Battle Weapon 9" was a typical Chemicals dancefloor track with their trademark vocoder vocals coupled with sirens and a basic 'tribal' melody.

At the same Turnmills gig, the Brothers also played a previously unreleased song at midnight to welcome 2007, which went down well with the crowd. This track eventually emerged as "Burst Generator", found on the forthcoming album We Are the Night. Many were left wondering if the latest in the Electronic Battle Weapon series were simply one-off experiments or signalled a new direction they could take with the new album, perhaps swaying from their genre defining big beat albums of the past. The song was also the band's 100th released song.

On 21 March 2007, the Chemical Brothers officially announced their forthcoming album on Myspace. The new album, entitled We Are the Night, was released on 2 July 2007 in the United Kingdom and 17 July 2007 in the United States. The Chemical Brothers cited a delay in the production of artwork for this delay.[23] EMI subsequently released an online Chemical Brothers computer game as an apology.[24] The track listing was released on the official mailing list on 10 April. Collaborations featured heavily on the album, including Klaxons ("All Rights Reversed"), Midlake ("The Pills Won't Help You Now"), Ali Love ("Do It Again"), and Willy Mason ("Battle Scars").[25]

On 12 April 2007, "Do It Again" aired on Pete Tong's "In New Music We Trust" show on BBC Radio 1. The official release of the single was 4 June (digital download) and 14 June (12-inch, 7-inch and CD). The album went on general release in the UK on 2 July 2007.

The Chemical Brothers supplied a new track for the Heroes soundtrack, titled "Keep My Composure". An alternate version of this track was released on Brotherhood, the duo's second singles compilation, which also featured the new single "Midnight Madness" and a second disc of every Electronic Battle Weapon released to date. The Chemical Brothers continued to tour into 2008 to promote the collection, including a landmark date at Olympia London.[26]

2010–2012: Further, Hanna and Don't Think

[edit]

On 30 March 2010, the band announced on their website that their seventh studio album, titled Further, would be released on 22 June and would be "the band's first to be released with corresponding films made specifically to match each of the 8 audio tracks." The films were made with long-time visuals collaborators Adam Smith and Marcus Lyall. Before the release of the album, the band played four shows in May at the London Roundhouse where they played the album and its accompanying films in their entirety. The films were released on a special edition DVD and on the iTunes LP edition.[27]

Most reviews were positive, with BBC Music declaring that "... synths are brutally manhandled and pushed to their limits across the eight tracks".[28] The Irish Times reported that "This is a very impressive collection that is carried along with a stirring sense of velocity and momentum".[29] However, praise was not unanimous for the album, with the American rock magazine Spin giving it a rating of three out of five stars.[30]

At the New York Comic Con, on 10 October 2010, film director Joe Wright announced that the Chemical Brothers would be scoring the soundtrack to his forthcoming film, Hanna.[31] Wright, who had worked with the Chemical Brothers in the past as a member of the visual company Vegetable Vision, stated that he was "very excited to finally ... work with a more modern beat. There's a lot of bass, it's very loud."[32] The soundtrack was released on iTunes on 15 March 2011 and on CD on 4 July 2011.

The duo also contributed a new version of the song "Don't Think" titled "Nina Frequency", as well as two new songs "Electric Hands" and "Danka Jane", to the soundtrack of the 2010 film Black Swan directed by Darren Aronofsky.[33][34][35] All three songs have not been released.

The Chemical Brothers released their first concert film, Don't Think, in 2012, documenting their performance at Fuji Rock Festival in Japan in 2011. The film debuted in February in theatres around the world, including a premiere in London where attendees – including Matt Smith, Karen Gillan and Keira Knightley – were seen dancing in aisles and seats, leading one reviewer to remark "at times it was impossible to tell which 'hands in the air' were on screen and which were in the room."[36] The film was the first concert film to be mixed in 7.1 surround sound, and was released on Blu-ray, DVD, and CD on 26 March 2012.

On 7 March 2012, it was announced that the Chemical Brothers would be scoring their second film soundtrack, for the bank heist film Now You See Me,[37] but the band had to pull out of the project in the early stages due to scheduling conflicts.[38] In July 2012, the duo composed an official piece of music to soundtrack the cycling events at the 2012 Summer Olympics, titled 'Theme for Velodrome'.[39]

2012–2017: Rowlands' solo work and Born in the Echoes

[edit]

After Hanna and Don't Think, Tom Rowlands worked on a number of solo projects. He remixed and produced music for Tinie Tempah, the Klaxons, I Break Horses, and New Order,[40][41][42] scored the film Trespass Against Us starring Michael Fassbender and Brendan Gleeson and directed by longtime visual collaborator and film and television director Adam Smith,[43] and the theatrical production of Life of Galileo directed by Joe Wright performed at the Young Vic,[44] and released 12-inch single Through Me / Nothing but Pleasure on Erol Alkan's label Phantasy in May 2013.[45]

On 21 October 2014, the Chemical Brothers released a single "This Is Not a Game", which was created for The Hunger Games: Mockingjay – Part 1, featuring Miguel and Lorde.[46] In December 2014, they announced an appearance at the 2015 Sónar festival and a new album, scheduled for release in 2015.[47]

In April 2015, videos containing animation and audio loops appeared on the official Chemical Brothers Facebook page and website, thechemicalbrothers.com, ahead of the imminent release of new music. On 23 April, their new song "Sometimes I Feel so Deserted" premiered on BBC Radio 1. On 17 July, the duo released Born in the Echoes, their eighth album. Singles from this album included "Go"; an up-beat reunion with guest vocalist Q-Tip and director Michel Gondry and "Wide Open" in collaboration with Beck. St. Vincent, Ali Love, and Cate Le Bon also feature on the album.

Along with the new album announcement, it was revealed that Simons would "take a break" from touring to focus on unspecified academic work. Adam Smith filled in for him on stage during the 2015 tour.[48] During the tour, Simons attended a few shows as an audience member, and both he and Rowlands expressed concern in interviews that this could mark a permanent retirement.[49] The first concert without Simons was performed at Siemens Arena in Lithuania.[50] Smith continued to fill in through the end of 2015, most notably at Glastonbury and the Apple Music Festival, and uniquely controlled both lights and music from the stage.[51]

Simons returned to live performances in 2016, performing at the Parklife Festival in Manchester, which included a new setlist and a cover of New Order's "Temptation" with Sumner's recorded vocals.[52] In November 2016, the duo released the non-album single "C-H-E-M-I-C-A-L", which premiered on BBC Radio 1.[53] The song originally debuted as a demo in 2012, created to open the duo's DJ sets from 2012 to 2015.[54]

2018–2021: No Geography

[edit]

On 10 January 2018, the Chemical Brothers confirmed production of their ninth album, No Geography, via Instagram and other social media platforms.[55] They released their first song in three years on 28 September 2018, titled "Free Yourself",[56] from the forthcoming album.

On 7 March 2019, Formula 1 announced a collaboration with the Chemical Brothers, which was released the next day in the form of the song "We've Got To Try".[57]

The Chemical Brothers' ninth studio album, No Geography, was released on 12 April 2019 to positive reviews. In 2020, the album won three Grammy Awards including Best Dance/Electronic Album, Best Dance Recording, and Best Music Video.[5]

In 2019, "We've Got to Try" won the overall award and "Best Director" category at the Berlin Music Video Awards.[58] The video for "Eve of Destruction", directed by Ollie Tong, took the 2nd place at the 2020 edition in the Best Art Director category.[59]

2021–present: biography and For That Beautiful Feeling

[edit]

On 22 April 2021, the Chemical Brothers released a then non-album single, "The Darkness That You Fear",[60][61] with another song, "Work Energy Principle", being released as a B-side on 15 July.[62]

On 17 March 2023, the Chemical Brothers released the second single, "No Reason".[63] with the B-Side in form of "All of a Sudden" being released on 28 April alongside the Vinyl version of the single.

On 28 June, 2028, the Chemical Brothers released the third single, "Live Again" (featuring Halo Maud); they also announced that a biography, titled Paused in Cosmic Reflection, would be coming out in late October.[64]

On 21 August, 2023, the Chemical Brothers released the fourth single "Skipping Like A Stone",[65] the second collaboration with Beck, after their 2015 single, "Wide Open".

On 5 September, 2023, the Chemical Brothers released the fifth, the titular single "For That Beautiful Feeling", alongside a short snipped of another album track "Goodbye", which was previously chosen by the community via the mailing list.

On September 8, 2023, their tenth album, "For That Beautiful Feeling", was released[66]

Live

[edit]

The Chemical Brothers have played at several major festivals, including Coachella, Glastonbury, Fuji Rock, Vive Latino, HFStival and the Reading and Leeds festivals.[67] In addition to performing their own music, they also hold regular DJ nights where they mix other artists' tracks (in the style of Brothers Gonna Work It Out).[68]

Discography

[edit]
Main article: The Chemical Brothers discography
See also: List of songs recorded by the Chemical Brothers

Studio albums

Awards and nominations

[edit]
List of awards and nominations received by the Chemical Brothers
[71][72]

Berlin Music Video Awards

The Berlin Music Video Awards is an international festival that promotes the art of music videos

Year Nominee / work Award Result
2019 WE'VE GOT TO TRY Best Director Won
FREE YOURSELF Best VFX Nominated
2020 EVE OF DESTRUCTION Best Art Director Nominated
2024 SKIPPING LIKE A STONE Best Concept Won

Brit Awards

For the British music award show, see Brit Awards.
Year Nominee / work Award Result
1997 The Chemical Brothers British Dance Act Nominated
"Setting Sun" (featuring Noel Gallagher) British Video of the Year Nominated
1998 The Chemical Brothers British Dance Act Nominated
"Block Rockin' Beats" British Video of the Year Nominated
2000 The Chemical Brothers British Dance Act Won
Surrender British Album of the Year Nominated
"Hey Boy Hey Girl" British Single of the Year Nominated
"Let Forever Be" (featuring Noel Gallagher) British Video of the Year Nominated
2003 The Chemical Brothers British Dance Act Nominated

Chicago Film Critics Association

For america film award show, see Chicago Film Critics Association.
Year Nominee / work Award Result
2011 Hanna Best Original Score Nominated

Grammy Awards

For american music award show, see Grammy Award.
Year Nominee / work Award Result
1998 "Block Rockin' Beats" Best Rock Instrumental Performance Won
Dig Your Own Hole Best Alternative Music Album Nominated
2005 "Get Yourself High" (featuring k-os) Best Dance/Electronic Recording Nominated
2006 "Galvanize" (featuring Q-Tip) Won
Push the Button Best Dance/Electronic Album Won
2008 We Are the Night Won
"Do It Again" (featuring Ali Love) Best Dance/Electronic Recording Nominated
2011 Further Best Dance/Electronic Album Nominated
2013 Don't Think Nominated
2016 Born in the Echoes Nominated
"Go" (featuring Q-Tip) Best Dance/Electronic Recording Nominated
2020 "We've Got to Try" Best Music Video Nominated
"Got to Keep On" Best Dance/Electronic Recording Won
No Geography Best Dance/Electronic Album Won

Los Angeles Film Critics Association

For america film award show, see Los Angeles Film Critics Association.
Year Nominee / work Award Result
2011 Hanna Best Music Won

Mercury Prize

For british music award show, see Mercury Prize.
Year Nominee / work Award Result
1997 Dig Your Own Hole Mercury Prize Nominated
1999 Surrender Nominated

MTV Europe Music Awards

For europe music award show, see MTV Europe Music Award.
Year Nominee / work Award Result
1997 "Block Rockin' Beats" Best Video Nominated
The Chemical Brothers Best Electronic Nominated
1999 Nominated
2003 Nominated
2005 "Galvanize" (featuring Q-Tip) Best Song Nominated
"Believe" (featuring Kele Okereke) Best Video Won
2007 "The Salmon Dance" (featuring Fatlip) Nominated

MTV Video Music Awards

For america music video award show, see MTV Video Music Award.
Year Nominee / work Award Result
1997 "Block Rockin' Beats" Best Dance Video Nominated
"Setting Sun" (featuring Noel Gallagher) Breakthrough Video Nominated
2000 "Let Forever Be" (featuring Noel Gallagher) Nominated
2015 "Go" (featuring Q-Tip) Best Art Direction Nominated

MTV Video Music Awards Japan

For japan music video award show, see MTV Video Music Awards Japan.
Year Nominee / work Award Result
2002 The Chemical Brothers Best Dance Won
2004 Get Yourself High (featuring k-os) Best Special Effects Won
2008 "Do It Again" (featuring Ali Love) Best Dance Video Won
2015 "Go" (featuring Q-Tip) Best Group Video Nominated

MVPA Awards The MVPA Awards are annually presented by a Los Angeles-based music trade organisation to honour the year's best music videos.[73]

Year Nominee / work Award Result
2002 "Star Guitar" Best Electronic Video Won
2006 "Believe" Nominated
2008 "Salmon Dance" Nominated
Best Animated Video Won
"Do It Again" Best Electronic Video Won
Best Cinematography Nominated

Q Awards

For british music award show, see Q Awards.
Year Nominee / work Award Result
1999 Surrender Best Album Won
2000 The Chemical Brothers Best Live Act Nominated
2010 Hero Award Won

UK Music Video Awards

For british music video award show, see UK Music Video Awards.
Year Nominee / work Award Result
2008 "The Salmon Dance" Best Dance Video Nominated
"Midnight Madness"
Best Visual Effects in a Video

Berlin Music Video Awards

For the Berlin music video award show, see Berlin Music Video Awards.

Year Nominee / work Award Result
2019 "We've got to try" Best Music Video Won
2019 Ninian Doff (director of "We've got to try") Best Director Won
2020 "Eve of Destruction" Best Art Director Won (Second Place)

References

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The Chemical Brothers

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The Chemical Brothers are an English electronic music duo formed in in 1992 by Tom Rowlands and Ed Simons, who pioneered the genre by fusing hip-hop breaks, , and rock elements into high-impact, arena-scale dance tracks. Initially performing as the —a name they adopted after being inspired by the American production team—they began DJing at house parties in the late 1980s while studying at Manchester Polytechnic, where their shared passion for , , and hip-hop solidified their partnership. Renamed The Chemical Brothers in 1995 due to legal threats from the original Dust Brothers, they signed with and released their debut album, , which introduced their signature sound of pounding rhythms and psychedelic samples. Their breakthrough came with the 1997 album , featuring the hit single "," which earned them a Grammy Award for Best Rock Instrumental Performance in 1998 and propelled into the mainstream alongside contemporaries like . Subsequent releases like Surrender (1999), with collaborations from and , and Push the Button (2005), including the Grammy-winning "Galvanize" for Best Dance Recording, showcased their evolution toward broader electronic experimentation while maintaining intense live shows known for immersive visuals and bass-heavy energy. Over three decades, they have released ten studio albums, including (2019) and (2023), the latter nominated for a Grammy for Best Dance/Electronic Album in 2024. The duo's influence extends to their six Grammy wins and 15 nominations overall, as well as multiple BRIT and awards, cementing their role in bridging club culture with stadium rock and inspiring generations of electronic producers. Their music, characterized by innovative sampling and collaborations with artists like and Q-Tip, continues to evolve, with tours continuing into 2025 highlighting their enduring appeal in the global dance scene.

Background

Early lives and education

Tom Rowlands was born on 11 January 1971 in , , and grew up in the nearby rural town of . His family supported his early musical pursuits; his parents bought him an when he was 12, a at 14, and an early sampler at 17, allowing him to experiment with sounds from a young age. Rowlands formed his first band, Ariel, with school friends during his teenage years, and developed a strong affinity for hip-hop, particularly the groundbreaking work of , which influenced his approach to sampling and rhythm. Ed Simons was born on 9 June 1970 in , , and raised in a suburb by a single mother who worked as a family-law specialist. Coming from what he described as a "very nonmusical background," Simons initially had limited direct involvement in music-making but became captivated by the emerging acid house scene as a teenager, attending clubs and raves that exposed him to electronic beats and psychedelic sounds. Rowlands and Simons first met in 1989 as freshmen studying at the , where they quickly bonded over mutual passions for rave culture, hip-hop artists like , and the burgeoning electronic music landscape. During their university years, Rowlands honed his skills by DJing almost every night at student parties, bars, and clubs around , including regular sets at the Owens Park pub in . Simons, meanwhile, shifted his focus from academics to the vibrant local music scene, frequently visiting iconic venues like and record shops such as Piccadilly Records to immerse himself in warehouse parties and the movement.

Formation and name origins

Tom Rowlands and Ed Simons formed their musical partnership in in 1992, shortly after graduating from the where they had met while studying history. Drawing inspiration from the innovative American production duo the —famous for their work on the ' album —the pair named themselves The Dust Brothers as a homage to that hip-hop influence blended with their growing interest in electronic music. The duo's debut release came quickly with the "Song to the Siren" EP in late 1992 on the Junior Boy's Own label, a self-financed limited pressing of just 500 copies that captured their early fusion of breakbeats and ambient textures. Building on this, they issued the "Fourteenth Century Sky" EP in February 1994, featuring the seminal track "Chemical Beats" which showcased their aggressive style and samples from . This was followed by the "My Mercury Mouth" EP in May 1994, further experimenting with grooves and trip-hop elements amid the UK's burgeoning electronic underground. Faced with a cease-and-desist threat from the American over , Rowlands and Simons rebranded as The Chemical Brothers in early 1995, adopting the new name from the track "Chemical Beats" to reflect their chemically charged sound. Concurrently, they honed their live sets in Manchester's pulsating rave scene, performing at iconic venues like club starting that year, where their high-energy DJing and rudimentary live rigs—often featuring sequencers and samplers—generated significant buzz among clubbers and laid the groundwork for their rise in the movement.

History

1984–1995: Pre-Chemical Brothers projects

Tom Rowlands, born in 1971 in and raised in , developed an early passion for music during his teenage years in the 1980s indie scene. At age 12, he acquired his first guitar, followed by a at 14 and a sampler at 17, which enabled him to experiment with recording and mixing tracks at home. He formed an indie-dance band called Ariel with school friends, blending rock influences with emerging electronic elements, and drew inspiration from indie acts like alongside hip-hop pioneers such as , whose intense sampling and beats shaped his approach to production. Ed Simons, born in 1970 in , , grew up in a single-parent household and discovered music as a teenager through clubbing, particularly at Manchester's during the late 1980s rave explosion. Before university, he explored diverse sounds, including rock bands like , but his interests leaned toward the underground electronic scene rather than formal classical pursuits or philosophy studies, though he later pursued medieval history alongside Rowlands at the in 1989. Simons had brief involvement in local bands during his youth, but his focus shifted to and the burgeoning culture. After graduating, Rowlands and Simons bonded over shared tastes in hip-hop, indie, and , leading to joint experiments in the early . They began attending raves and amassing vinyl records, drawing from artists like and to create eclectic mixes. From 1990 to 1992, they honed their skills through club DJ sets at venues like the Naked Underwater Leather night, where they fused , hip-hop, and rock elements to build a reputation in the local scene; their first collaborative track, "," was recorded in Rowlands' bedroom in 1992 using basic equipment. These pre-label activities laid the groundwork for their style, emphasizing live energy and genre-blending. By 1995, operating initially as The Dust Brothers—a nod to the American production duo—the pair faced legal pressure from the U.S. originals, who had worked with acts like the and demanded the name cease to avoid market confusion in the expanding global electronic music landscape. In response, they rebranded as The Chemical Brothers, evoking a sense of experimental chemistry amid the UK's post-rave cultural shift toward mainstream . This change coincided with their relocation from to , where they secured a pivotal deal with , enabling the release of their debut album and marking their transition from underground DJs to international artists.

1995–1998: Exit Planet Dust and Dig Your Own Hole

The Chemical Brothers released their debut studio album, , on 26 June 1995 through ' imprints Freestyle Dust and Junior Boy's Own. The album peaked at number 9 on the and featured singles such as "," which reached number 17 on the UK Singles Chart. Critics praised its innovative fusion of hip-hop breakbeats, rhythms, and rock elements, establishing the duo's signature sound. Videos for tracks like "Life Is Sweet" gained heavy rotation on , contributing to their breakthrough in the US market and leading to extensive tours there in 1995 and 1996. Building on this momentum, the duo released their second album, , on 7 April 1997 via the same labels. The record debuted at number 1 on the , marking their first chart-topping release, and included high-profile collaborations such as of Oasis on the lead single "Setting Sun," which also hit number 1 on the UK Singles Chart. provided vocals for "Where Do I Begin," adding an emotive folk-tinged layer to the electronic production. Another single, "," similarly reached number 1 in the UK and won a Grammy Award for Best Rock Instrumental Performance in 1998, signaling growing awards recognition. The duo's live performances during this period amplified their rising profile, particularly their headline set at in 1997, which incorporated pioneering visual effects and immersive projections to enhance the energy. This era solidified The Chemical Brothers' global stature, with selling over a million copies worldwide and cementing their influence on electronic music.

1999–2004: Surrender, Come with Us, and Push the Button

Following the success of their second album, , The Chemical Brothers expanded their sonic palette on their third studio album, Surrender, released on June 21, 1999, by . The record marked a shift toward more melodic and rock-infused electronic structures, incorporating guest vocalists to bridge roots with pop accessibility. Key collaborations included of Oasis on the psychedelic-tinged "Let Forever Be," of New Order on the euphoric "Out of Control," and of delivering ethereal vocals on the ambient closer "Asleep." These features helped Surrender achieve commercial peaks, debuting at number one on the and earning platinum certification in the UK, while introducing house-influenced rhythms in tracks that built on the duo's earlier foundations. Critically, the album was praised for its vibrant energy and seamless integration of genres, solidifying the duo's status as electronic innovators. In support of Surrender, The Chemical Brothers embarked on extensive international tours, including their first major headline dates in venues like New York's Hammerstein Ballroom in September 1999, where they shared stages with acts such as . These performances showcased their evolving live production, blending high-energy visuals with layered beats to captivate larger audiences. The duo's fourth album, Come with Us, arrived on January 28, 2002, via , representing a return to club-oriented after the rock-leaning Surrender. Recorded amid a period of creative experimentation, it featured collaborations with of on the sprawling, prog-infused "The Test" and Beth Orton providing introspective vocals on "The State We're In" and "Alive Alone." Standout track "Star Guitar" became a defining single, its hypnotic rhythm and Michel Gondry-directed —depicting a train journey synced to the beat—earning widespread acclaim and contributing to the song's UK top-10 chart position. Another highlight, "It Began in Afrika," introduced prominent elements through its four-to-the-floor and percussive grooves, signaling the duo's deeper engagement with dancefloor dynamics. While Come with Us debuted at number one in the UK and achieved gold status there, it received mixed reviews for its uneven pacing compared to predecessors, though tracks like "Galaxy Bounce" were lauded for recapturing the duo's propulsive energy. The album's release was bolstered by the Come with Us Tour, which included international stops and reinforced their reputation for immersive live sets. Building on this momentum, The Chemical Brothers recorded their fifth album, Push the Button, primarily in 2004, with its release on January 24, 2005, in the UK via , capping the period's creative output. The record embraced hip-hop and indie crossovers, featuring Q-Tip of on the politically charged lead single "Galvanize," which critiqued global tensions with lines about fingers on the button amid post-9/11 anxieties. Additional guests included Bloc Party's on the urgent "Believe" and The Charlatans' Tim Burgess on "Do It Again," infusing the tracks with raw, socially conscious lyrics that reflected the era's geopolitical climate. These collaborations helped Push the Button debut at number one in the UK, earn a Grammy for Best Electronic/Dance Album in 2006, and achieve platinum sales in the UK, underscoring the duo's sustained commercial viability. The Push the Button Tour extended their global reach, incorporating upgraded visuals and marking further arena-level performances in the US and .

2005–2010: We Are the Night and Further

Following the success of their 2005 album Push the Button, The Chemical Brothers returned to their roots with We Are the Night, their sixth studio album, released on 2 July 2007 in the UK via Freestyle Dust and . The album featured collaborations with artists such as the on the track "All Rights Reversed," on "No Path to Follow," and Ali Love on "Do It Again," blending electronic grooves with indie and folk elements to create a vibrant, dancefloor-oriented sound. It debuted at number one on the , marking the duo's fifth consecutive chart-topping release in their home country. The album's critical and commercial impact was underscored by its win for Best Electronic/Dance Album at the in 2008, highlighting the duo's enduring influence in the electronic music landscape during the mid-2000s. In 2010, The Chemical Brothers released Further, their seventh studio album on 14 June through Freestyle Dust, shifting toward a purely approach without any guest vocalists for the first time since their debut. The record emphasized pulsating synths, driving rhythms, and psychedelic textures across tracks like "" and "Horse Power," evoking the energy of their live performances. Accompanying the album were short audiovisual films for each of its 11 tracks, directed by collaborators including and , which later contributed to the conceptual documentary —a 2012 release capturing the duo's immersive stage visuals and Fuji Rock Festival set from 2011, integrating Further's material. Nominated for Best Electronic/Dance Album at the in 2011, Further reinforced their role in evolving electronic music's fusion of sound and visuals. During this period, the duo expanded into film scoring with the original soundtrack for Hanna, a 2011 action thriller directed by Joe Wright and starring Saoirse Ronan as a young assassin. Released on 5 April 2011 by Back Lot Music, the score featured tense, orchestral-electronic hybrids like "Hanna's Theme" and "The Devil Is in the Details," blending pulsating beats with cinematic tension to complement the film's themes of isolation and pursuit. The soundtrack's innovative sound design earned praise for bridging their club roots with Hollywood, further cementing their mid-2000s momentum in awards circuits. The Chemical Brothers' output from 2005 to 2010 solidified their status as pioneers in the electronic scene, influencing a wave of artists blending , , and experimental visuals, as seen in their Grammy wins and nominations that highlighted their contributions to music's mainstream evolution.

2011–2017: Solo endeavors and

Following the release of their 2010 album Further and its accompanying tour, The Chemical Brothers entered a period of hiatus, allowing Tom Rowlands and Ed Simons to explore individual pursuits. This break marked a shift from their collaborative intensity, enabling personal creative outlets before reuniting for new material. Tom Rowlands embraced solo endeavors centered on electronic production, contributing remixes and tracks to other artists during this time. He collaborated with the on production elements and worked with rapper , while also co-writing a song for featured on the soundtrack for The Hunger Games: Mockingjay – Part 1 (2014). These projects highlighted Rowlands' continued focus on electronic textures and vocal integrations, distinct from the duo's roots. In contrast, Ed Simons maintained a lower profile, pursuing academic studies in the aftermath of the 2011 tour, which kept him away from immediate performance commitments. The duo reconvened in the studio around 2013, culminating in their eighth studio album, , released on 17 July 2015 via . The album featured notable collaborations, including on the closing track "Wide Open," which blended soothing electronic pulses with melancholic vocals, and St. Vincent (Annie Clark) on "Under Neon Lights," an uneasy fusion of dynamic rhythms and experimental edges. Other guests like Q-Tip and Ali Love contributed to tracks emphasizing live jamming sessions and a return to vocal-driven songs. Critics praised the record for its psychedelic evolution, with noting its mix of "festival fillers and club bangers" alongside "wondrously bizarre studio experiments," while hailed it as a "victorious racket" revitalizing their sound after five years. described it as "electrifying, tightly constructed ," underscoring its high-energy coherence. Supporting , The Chemical Brothers resumed touring in the mid-2010s, delivering immersive live experiences characterized by elaborate visuals crafted by longtime collaborators and Marcus Lyall. These shows integrated synchronized projections, lighting, and VFX—often exceeding 9,000 cues per performance—to create a sensory spectacle that enveloped audiences, building momentum toward subsequent releases. Performances at festivals like in 2015 exemplified this approach, evolving their audiovisual synergy into a hallmark of the decade.

2018–2025: No Geography, For That Beautiful Feeling, and recent activities

In April 2019, The Chemical Brothers released their ninth studio album, No Geography, which marked a return to their high-energy big beat roots while incorporating house and psychedelic elements. The album featured guest vocals from artists including Aurora and Japanese rapper Nene H, and it earned the duo the Grammy Award for Best Dance/Electronic Album at the 62nd Annual Grammy Awards in 2020. Tracks like "Got to Keep On," with its insistent, uplifting rhythm, gained renewed resonance during the early months of the COVID-19 pandemic as an motivational anthem amid global lockdowns. The onset of the in 2020 led to a pause in The Chemical Brothers' live touring activities, with planned festival appearances such as at the canceled and rescheduled to 2021. In response, the duo participated in virtual events, including online live streams and digital performances to connect with fans during the restrictions. Touring resumed gradually in 2022, allowing them to support No Geography on select dates. In September 2023, The Chemical Brothers issued their tenth studio album, , which explored themes of joy, surrender to music, and introspective reflection through pulsating electronic tracks. The record included collaborations with on "Skipping Like a Stone" and Halo Maud on "Live Again," blending euphoric builds with emotional depth. It received acclaim for revitalizing their sound with immersive, dancefloor-oriented production. That same year, October 2023 saw the publication of Paused in Cosmic Reflection, the first official biography of The Chemical Brothers, co-authored by Tom Rowlands, Ed Simons, and Robin Turner. The book chronicles their career from early club days to global stardom, drawing on personal interviews and archival material to highlight their evolution in electronic music. In 2025, The Chemical Brothers performed dynamic DJ sets, including at Knockdown Center in on September 18 and at the Portola in on September 20, showcasing a mix of their catalog alongside new visuals. Separately, Tom Rowlands made a rare solo appearance with a DJ set at Festival's Stonebridge Bar on June 27, as part of Bugged Out's 30th anniversary celebrations. Rowlands also released the double A-side single "We Are Nothing / All Night" in June and composed the original soundtrack for the eight-part Italian drama series , a historical portrayal of directed by , featuring propulsive electronic scores that underscore the narrative's tension. Throughout this period, the duo maintained their longstanding visual partnership with director , who co-designed immersive projections and films for their live shows and album promotions, including psychedelic sequences for tours that enhanced the sensory experience of their performances.

Musical style

Influences and genre foundations

The Chemical Brothers' sound draws significantly from hip-hop, particularly the innovative sampling and dense production of , whose album It Takes a Nation of Millions to Hold Us Back profoundly impacted Tom Rowlands and Ed Simons during their university years in . The duo also cited the as a major influence, admiring their fusion of rap, rock, and punk energy, which informed their own approach to blending genres and incorporating playful yet aggressive rhythms. These hip-hop elements provided the rhythmic backbone for their tracks, emphasizing breakbeats and layered samples that contrasted with the more minimal structures of contemporaneous electronic music. Punk rock further shaped their rebellious ethos and raw intensity, contributing to the chaotic, high-energy drive in their early work, evoking the genre's anti-establishment spirit amid the UK's underground scene. Their immersion in Manchester's early rave culture, particularly nights at club during the movement, introduced pulsating basslines and euphoric builds that infused their music with a sense of communal ecstasy and dancefloor urgency. This scene, blending with imported and , helped cultivate their appreciation for repetitive, hypnotic grooves that transcended traditional club boundaries. Krautrock elements appear in aspects of their work, such as mechanical beats and experimental repetition in tracks like those on We Are the Night (2007). These diverse inspirations coalesced into the foundations of , a genre the Chemical Brothers pioneered by merging hip-hop breakbeats, eclectic samples, and distorted rock guitars into thunderous, arena-ready anthems that diverged from the stripped-down purity of or . Unlike the four-on-the-floor pulse of or the relentless synth arpeggios of , big beat emphasized gritty, overdriven textures and narrative builds, creating a hybrid form that bridged electronic dance with rock's visceral aggression. This innovative synthesis not only defined their debut but also elevated big beat as a mainstream force in mid-1990s electronic music.

Production techniques and evolution

The Chemical Brothers' production techniques have long centered on sampling, particularly vinyl breaks, which formed the backbone of their early big beat sound. In the 1990s, they relied heavily on AKAI samplers such as the MPC3000, S1000, and S2800 to capture and manipulate drum breaks from vinyl records, layering them with effects for dense, rhythmic foundations. This approach was complemented by analog synthesizers like the Moog Model D and , valued for their warm, unstable tones that added organic texture over digital alternatives. Drum machines, notably the MPC3000, handled sequencing and additional percussion, while early software tools including Cubase VST 3, for loop slicing, and Rebirth for modular emulation on Macintosh computers facilitated album construction. Over time, their methods evolved from sample-intensive workflows to a hybrid of hardware and software integration. By the 2010s, they incorporated modular synthesizers—inspired by systems like the Serge—and shifted sequencing to Ableton Live and Logic Pro, allowing for real-time manipulation of drums, bass, and effects. This progression marked a move away from the vocal-heavy tracks of their mid-2000s output toward more instrumental compositions, exemplified by the 2010 album Further, which featured no guest vocals and emphasized sprawling, synth-driven soundscapes built around live analogue layering. Later works introduced live instrumentation more prominently, with onstage synths like the Roland Juno-106 and Dave Smith Poly Evolver blended into studio sessions for dynamic, performative depth. This hybrid approach continued into the 2020s, as seen in albums like No Geography (2019) and For That Beautiful Feeling (2023), which maintained their signature intense electronic experimentation while integrating contemporary digital tools for immersive, anxiety-tinged soundscapes. A hallmark of their production is the synergy between audio and visuals, achieved through custom software that synchronizes multimedia elements. Timecode generated from Logic Pro drives precise alignment of video projections, lighting, and sound during live performances, creating immersive, reactive experiences. Adam Smith, their longtime collaborator and co-creative director, has played a pivotal role in this integration since the late 1990s, designing visuals that respond in real-time to the duo's audio cues via bespoke systems developed over 25 years. This audio-visual fusion extends to studio practices, where spatial audio concepts inform mixing, ensuring tracks translate seamlessly to live multimedia spectacles.

Band members

Tom Rowlands

Thomas Owen Mostyn Rowlands, born on 11 January 1971 in , , , is an English , DJ, and best known as one half of the electronic music duo The Chemical Brothers, alongside Ed Simons. Within the duo, Rowlands serves as the primary producer and DJ, taking the lead on most mixing duties and shaping their signature high-energy sound through intricate electronic arrangements and big beat influences. Rowlands is married to Vanessa Rowlands (née Rand), whom he met through the music industry, and the couple has three children; they reside in , . He maintains an active interest in , having secured tickets to the cycling events at the 2012 London Olympics, and engages with political topics, including discussions on and its cultural impacts in interviews. Rowlands contributes significantly to the duo's live performances by driving the energetic stage presence and overseeing visual elements, which have become integral to their immersive shows featuring psychedelic projections and synchronized lighting. In addition to his work with The Chemical Brothers, Rowlands has pursued solo endeavors, including the 2025 double single "We Are Nothing / All Night" released on Phantasy Sound, marking his return to solo dancefloor material after over a decade. That same year, he composed the original soundtrack for the Italian television series Mussolini - Son of the Century, delivering an electrifying score that underscores the drama's themes of chaos and power.

Ed Simons

Edmund John Simons, born on 9 June 1970 in , , , is one half of the English electronic music duo The Chemical Brothers, alongside Tom Rowlands. He met Rowlands in 1989 while both were studying at the , where they bonded over shared interests in electronic music and DJing, eventually graduating with history degrees in 1992. Simons plays a central role in the duo's creative process, contributing to songwriting, sampling, and production techniques that define their sound, often favoring concise track structures in contrast to Rowlands' more extended jamming style. This dynamic balance has been key to their collaborative workflow, allowing them to fuse hip-hop breaks, psychedelic elements, and influences into cohesive albums since their 1995 debut . While the duo frequently collaborates with guest vocalists for lyrics—such as on "Setting Sun" or on "Wide Open"—Simons has been in conceptualizing these integrations, though he has pursued less solo work compared to Rowlands, opting instead for academic pursuits like a Master's during a break from recording around 2015. In addition to music production, Simons co-directs the duo's immersive visuals, working closely with collaborators like on projects such as the 2012 concert film , which blends live footage with abstract animations to enhance their live performances. His personal life remains largely private, with Simons residing in and occasionally stepping back from touring to focus on scholarly interests, a pattern that underscores his role as the more introspective counterpoint to Rowlands' energetic drive.

Live performances

Stage production and visuals

The Chemical Brothers' stage production emphasizes a seamless fusion of electronic music and cutting-edge visuals, spearheaded by a long-standing collaboration with director since the duo's first live show in 1995. Initially operating through the design partnership Vegetable Vision, Smith pioneered the band's early visuals using 16mm film and 35mm slide projectors to generate abstract, rhythmic animations. In 2009, Marcus Lyall joined Smith to co-direct under the banner Smith & Lyall, expanding the scope with integrated , lasers, and digital elements that synchronize precisely with the music via a custom cueing system comprising up to 9,000 and VFX triggers per . This setup ensures that visuals respond dynamically to beats and drops, creating a unified audiovisual narrative without reliance on pre-recorded elements beyond the duo's live manipulation. Central to their production is the absence of a backing band, with Tom Rowlands and Ed Simons alone onstage, their modular synthesizers and mixing desks framed by massive LED walls and moving light rigs that amplify the raw energy of their performances. The visuals—often abstract and non-narrative—draw from the band's techniques, such as layered sampling, to evoke fluid, evolving patterns that mirror the music's intensity. Immersive props like 4-meter-tall robots with eyes or motion-captured dancers further embed the audience in a multi-sensory spectacle, where light and transform the stage into a pulsating, three-dimensional environment. The evolution of these elements reflects technological advancements: the 1990s featured hypnotic shows and analogue projections for a raw, rave-inspired aesthetic, while the introduced 3D mapping and expansive LED configurations for more intricate, spatial illusions. This progression has cultivated profoundly psychedelic experiences, immersing audiences in euphoric, mind-expanding realms that heighten emotional and physical responses to the music. The duo's approach has significantly influenced modern EDM visuals, establishing a benchmark for synchronized, technology-driven live artistry that prioritizes collective transcendence over traditional tropes.

Touring history and key shows

The Chemical Brothers' live performances originated in the UK's underground club scene during the early 1990s, where they established themselves as resident DJs at the Heavenly Sunday Social in starting in the second half of 1994. This residency at The Albany pub, known for its eclectic and influential anything-goes music policy, allowed the duo—then performing as the —to hone their sound amid a crowd drawn from the and emerging electronic scenes. Their sets during this period, often extending late into the night, built a grassroots following and led to the release of their debut mix album Live at the Social Volume 1 in 1996, capturing the raw energy of these club nights. Following the release of their debut studio album in June 1995, the duo embarked on their first extensive tour in 1996, marking their breakthrough in with high-energy shows supporting the album's anthems. Key stops included performances at the Organic Festival in on June 22, where they broadcast live on KROQ radio, and a sold-out gig at in New York in June, as well as dates in and that showcased their ability to translate club intensity to larger venues. This tour solidified their international reputation, drawing crowds eager for tracks like "Chemical Beats" and setting the stage for global expansion. The late 1990s saw the duo headline major festivals, including Glastonbury in 1997 on the Other Stage, where their set featuring remixes and tracks from Dig Your Own Hole—such as "Setting Sun"—drew massive crowds and highlighted their rising status in UK dance music. They returned to headline the Pyramid Stage at Glastonbury in 2000, delivering a landmark performance that turned the festival into what was described as "one giant house party," with anthems like "Block Rockin' Beats" and "Hey Boy Hey Girl" energizing over 100,000 attendees amid David Bowie and Travis on the bill. These appearances cemented their role as pioneers of electronic music on mainstream stages. Their Coachella debut in 2007 further expanded their US festival presence, with a Mojave Tent set blending visuals and tracks from We Are the Night, including "Do It Again," that exemplified their evolving production amid a lineup featuring and . Moving into the , the duo undertook arena tours to support in 2015, filling stadiums across and with shows praised for their immersive scale and ability to captivate large audiences, as seen in performances at Summer Sonic in and the Roundhouse in . The 2019 No Geography world tour represented a peak in their arena-filling prowess, spanning North America, Europe, and the UK with dates at venues like the Bill Graham Civic Auditorium in San Francisco and the O2 Arena in London, where sets integrated new material like "Got to Keep On" alongside enduring hits. Post-pandemic, the duo resumed touring in the 2020s with selective high-profile returns, including a DJ set at Portola Music Festival in San Francisco on September 20, 2025, featuring a mix of classics and recent cuts that drew thousands to Pier 80. In June 2025, Tom Rowlands performed a rare solo DJ set at Glastonbury's Stonebridge Bar as part of Bugged Out's 30th anniversary, spinning tracks like "We Are Nothing" in an intimate setting that contrasted the duo's larger productions. An upcoming DJ set is scheduled for November 22, 2025, at Magazzini Generali in Milan, Italy. Throughout their career, the Chemical Brothers have faced the challenge of evolving their setlists to balance timeless classics—such as "Galvanize" and "Star Guitar"—with fresh material from albums like and , ensuring relevance while honoring fan expectations in an era of shifting electronic genres. This curation, often incorporating live remixes and guest vocalists, has kept their shows dynamic, as evidenced by 2019 tour reviews noting the seamless integration of old and new to maintain high energy across diverse audiences.

Other work

Film scores and soundtracks

The Chemical Brothers have ventured into film scoring with a distinctive fusion of electronic beats and orchestral elements, adapting their big beat style to heighten narrative tension in action-oriented stories. Their most prominent contribution is the full original score for the 2011 thriller Hanna, directed by Joe Wright, which features pulsating synths and strings to underscore the protagonist's intense journey of survival and self-discovery. The soundtrack, released by Back Lot Music, includes tracks like "Hanna's Theme" and "Escape 700," blending chemical rhythms with cinematic orchestration to create a sense of relentless pursuit. This work earned acclaim, including a win for Best Film Music or Score from the Alliance of Women Film Journalists, though it did not receive an Academy Award nomination.#Awards_and_nominations) Beyond full scores, the duo has provided original tracks for major film soundtracks, expanding their electronic sound into collaborative media projects. For – Part 1 (2014), they composed "This Is Not a Game," featuring vocals by Miguel and , which integrates their signature driving basslines with dystopian urgency to amplify the film's revolutionary themes. Earlier, in Darren Aronofsky's (2010), they contributed "Danka Jane," an original electronic piece that complements the psychological thriller's hallucinatory atmosphere with layered, ominous synths. Tom Rowlands, one half of the duo, has extended this legacy into television with his solo score for the 2024 Sky and Sky Italia series M. Son of the Century, again directed by Joe Wright. The eight-part drama chronicles Benito Mussolini's rise to power, and Rowlands' techno-infused compositions—described as rough-edged and pulsating—evoke the era's political volatility through distorted electronics and rhythmic intensity. Released by Milan Records in January 2025, the soundtrack includes tracks like "Mi Chiamo Mussolini," marking Rowlands' second collaboration with Wright after Hanna and highlighting the duo's ongoing evolution in narrative-driven music.

Collaborations and remixes

The Chemical Brothers have extensively collaborated with vocalists and musicians across genres, often integrating indie, rock, and hip-hop elements into their electronic soundscapes. One of their earliest and most notable partnerships was with Oasis frontman Noel Gallagher on "Setting Sun," released in October 1996 as the lead single from their album Dig Your Own Hole. Gallagher contributed lyrics and vocals inspired by an unreleased Oasis track, recording his part in a single day after hearing the instrumental; the song topped the UK Singles Chart, selling 99,000 copies in its debut week, and was praised for its psychedelic fusion of big beat and rock. This collaboration exemplified their early efforts to merge electronic production with rock sensibilities. Similarly, in 2003, they teamed up with The Flaming Lips' Wayne Coyne for "The Golden Path," a euphoric single from Singles 93–03 that blended shimmering synths with Coyne's ethereal vocals, helping to solidify their crossover appeal in indie circles. Their work with spans multiple projects, highlighting a sustained creative synergy. On the 2015 album , provided vocals for "Wide Open," a pulsating track that earned a Grammy nomination for Best Dance Recording and showcased the duo's ability to layer emotive indie vocals over driving electronic beats. This partnership continued into 2023 with "Skipping Like a Stone" from , where 's introspective delivery complemented the album's themes of euphoria and reflection, reuniting the artists after nearly a decade. Other significant guest features include of New Order on "Out of Control" (1999), with backing vocals from Primal Scream's , and Q-Tip on "Galvanize" (2005), which won a Grammy for Best Dance Recording and became a staple in electronic-rock crossovers. In addition to vocal collaborations, The Chemical Brothers have produced influential remixes for prominent acts, extending their production expertise to other artists' material. They remixed The Prodigy's "Voodoo People" in 1994 under their early moniker , transforming the track into a seminal anthem that amplified its aggressive energy and appeared on various compilations. For Primal Scream's album in 2000, they delivered the "Chemical Brothers Mix" of "Swastika Eyes," infusing the rock track with pulsating breaks and synths that enhanced its political edge and earned acclaim for bridging with . They also remixed Fatboy Slim's "Song for Shelter" in 2000, adding layered percussion and atmospheric builds that extended the original's chill-out vibe into club territory. These partnerships and remixes have played a pivotal role in bridging electronic music with indie and rock genres, helping to popularize as a mainstream force in the 1990s and beyond. By collaborating with rock icons like Gallagher and Sumner while remixing acts such as and , they fostered a hybrid sound that influenced the revolution, blending culture with alternative sensibilities and earning them six , including for rock instrumental performance.

Discography

Studio albums

The Chemical Brothers have released ten studio albums since their debut in 1995, primarily through and its imprints, with handling distribution in the United States. Their discography reflects an evolution from and influences to more experimental electronic sounds, often incorporating collaborations and achieving strong commercial success in the , where six of their albums have topped the charts.
AlbumRelease DateLabelUK PeakUS Peak (Billboard 200)Notes
26 June 1995Virgin / 993Debut album; sold over 1 million copies worldwide.
7 April 1997Virgin / 114Second album; nominated for Grammy Award for Best Alternative Music Album.
Surrender19 June 2000 (UK) / 20 June 2000 ()Virgin / 132Third album featuring guests like and .
Come with Us28 January 2002Virgin / 132Fourth album with contributions from and .
Push the Button24 January 2005Virgin / 159Fifth album; won Grammy Award for Best Electronic/Dance Album.
We Are the Night2 July 2007Virgin165Sixth album featuring and ; nominee.
Further26 April 2010Virgin—63Seventh album, instrumental-focused with accompanying films; ineligible for due to video bundle.
17 July 2015173Eighth album with guests including Beck and Q-Tip.
No Geography12 April 20194109Ninth album; won Grammy Award for Best Electronic Album.
For That Beautiful Feeling8 September 20236—Tenth album; 10 tracks, 41 minutes runtime, featuring Halo Maud and Beck.

Singles and EPs

The Chemical Brothers' early releases as The laid the foundation for their sound through limited-edition EPs. Their debut, the EP, was released in October 1992 on the label Diamond Import, featuring tracks like the title song that blended breakbeats with ethereal indie vocals sampled from . This white-label 12-inch pressing marked their initial foray into electronic music production and sold modestly in underground circles. Following this, the Fourteenth Century Sky EP arrived in February 1994 via Junior Boy's Own, including influential tracks such as "Chemical Beats," which showcased influences and dub elements, helping to establish their reputation in the UK scene. These EPs, produced in small runs of around 1,000 copies each, were pivotal in transitioning from their student days to professional releases, though they did not achieve commercial chart success. As they adopted the name The Chemical Brothers in 1995 to avoid legal issues with the American Dust Brothers, the duo shifted toward mainstream singles that propelled their breakthrough. Their discography encompasses over 30 singles, many serving as lead promotions for albums, with notable chart performance in the UK and international recognition through awards. Key early hits included "Block Rockin' Beats" from 1997, which topped the UK Singles Chart for one week and earned a Grammy Award for Best Rock Instrumental Performance in 1998, solidifying their impact on electronic rock fusion. "Galvanize," featuring Q-Tip and released in 2005, peaked at number 3 on the UK chart, stayed for 21 weeks, and won the Grammy for Best Dance Recording in 2006; it also received platinum certifications in the UK (BPI), Australia (ARIA), and the US (RIAA). Later singles demonstrated their enduring relevance, often blending live elements with electronic production. "Go," released in 2015 with Beck on vocals, reached number 46 on the UK chart and highlighted their return after a four-year album hiatus. In 2023, "No Reason" emerged as the lead single from their tenth studio album, For That Beautiful Feeling, showcasing rave-ready beats mastered in Dolby Atmos; though it did not enter the UK top 100, it was performed live at festivals like Coachella and Isle of Wight. The duo's singles have collectively garnered multiple platinum certifications across markets, particularly in the UK and Australia for standout tracks like "Galvanize," underscoring their commercial longevity.
Single TitleYearUK PeakNotable Achievements
19971Grammy for Best Rock Instrumental Performance; 14 weeks on chart
Galvanize (feat. Q-Tip)20053Grammy for Best Dance Recording; Platinum in , , ; 21 weeks on chart
Go (feat. )2015469 weeks on chart; Featured live performances
2023-Lead single from ; Festival staple

Awards and nominations

Grammy Awards

The Chemical Brothers have received 6 Grammy wins and 16 nominations overall, beginning with their first nomination at the in 1998. Their accolades highlight their role in bridging with rock and alternative genres, as evidenced by early recognition in non-traditional categories for electronic acts. The duo's wins span , recording, and album categories, reflecting sustained influence in dance/electronic music. Their Grammy wins include: Notable nominations include Best Alternative Music Album for Dig Your Own Hole (1998). Additional key nods feature Best Dance/Electronic Album for Born in the Echoes at the 58th Annual Grammy Awards (2016) and for For That Beautiful Feeling at the 66th Annual Grammy Awards (2024). Most recently, they received a nomination for Best Remixed Recording for "Galvanize (Chris Lake Remix)" at the 68th Annual Grammy Awards (2026). These nominations underscore their consistent critical acclaim in evolving electronic categories since the late 1990s.

Other awards and honors

The Chemical Brothers have garnered recognition from various prestigious UK and international awards bodies for their innovative contributions to electronic and . In 2000, they won the Brit Award for Best British Dance Act, honoring their album Surrender. In 2014, the duo received the Award for Outstanding Song Collection from the of Songwriters, Composers, and Authors, acknowledging their enduring body of work over two decades. The following year, this accolade underscored their influence during the promotion of , their eighth studio album. The music video for "Let Forever Be," directed by Michel Gondry and released in 1999, earned the MuchMusic Video Award for Best International Video, highlighting their visual artistry in electronic music. Additionally, in 2000, they secured the NME Award for Best Dance Act, reflecting their dominance in the UK dance scene at the turn of the millennium. In 2010, The Chemical Brothers were presented with the Q Hero Award at the , celebrating their pioneering role in and electronic genres. Further affirming their legacy, they received the Bose Innovation in Sound Award at the 2019 Nordoff and Robbins Silver Clef Awards, a lifetime honor recognizing their trailblazing production techniques and impact on live electronic performances. These accolades contribute to their total of 13 major award wins across genres, emphasizing their role in shaping modern electronic music through sampling, , and immersive visuals.

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