Verve Jazz Masters 12

[tip] "prepare your headphone for this audio-visual journey" it starts now... ...the series "knowing the edm", where we will meet recognized artists and their trajectory until they have become great professionals. electronic music. after all, what is electronic music? — some years ago, things that usually came in my mind were: “a swag musical style”, “loud music” or simply “club music”. i, as many people, did not have the knowledge of what really was electronic music.

here, in brazil, this theme keeps being vague in the popular imaginary, because of the lack of interest from the informative media. but also, because of the bad representation of characters that not always produce the best musical content. electronic music arise, in the beginning of 20th century, as a variant of erudite music, classical music. time in what the first recording devices were already being developed and tested. they are known as analog devices, because the body energy in movement is converted in electric pulses. for example, the sound you are hearing, now, came from my voice that moved air molecules. these molecules were propagated as invisible waves, however, they were reflected in the environment where the microphone is found. of a similar way that of a stone thrown into a lake. in the microphone there is a part, be a membrane or coil, that vibrates to receive the invisible air molecules in movement.

also known as sound waves or sound. this vibration — provoked by sound waves hitting the microphone — generates electric pulses molded by the intensity and frequency of my voice. this way, it is created the analog sinal. it passes through another conversion, becoming digital, so that your computer can comprehend the recorded information. then, your machine sends the electric digital sinal to your headphone, loudspeaker, that vibrates the membrane called diaphragm, again generating the analog sinal. this, as we already know, returns moving air molecules, it is reflected in the ambient, absorbed by objects like your ears, until reaching your ear canal.2500:03:35,480 --> 00:03:47,520this explanation already demonstrates that any music made utilizing electronic devices is essentially electronic music. for a long time the jazz, the rock, and even the classical music have been using electronic technologies. however, there is the style difference that prevail in the identification of the musical genre. you know when you are listening to samba, mpb (brazilian popular music), folk rock. some musical genres use more electronic instruments, others like those previously cited, less.

in electronic music, there is a generic term known as edm (electronic dance music), in portuguese, "mãºsica eletrã´nica de danã§a" or "danã§ante". this is how are called compositions majorly made from electronic instruments and which aim is making the final public to dance. the most popular genre of electronic music is the house music. it incorporates elements from funk music, rock, reggae, among other important musical variants. moreover, it gave birth to popular sub genres like eurodance, deep house and electro house. this was only an abstract of common issues in electronic music and understanding them allows us to discover what of best has the dance music. there are no better artists to start a series about dance music than the chemical brothers. they undeceive who thinks that the good electronic music has been reproduced in popular radios of brazil or that common sense in what david guetta is the greatest dj of the world. the chemical brothers is an electronic music project created by the english ed simons and tom rowlands, in the early 1990s.3700:06:04,580 --> 00:06:14,640they are the greatest representative of big beat's musical genre, known for having very broken beats. electronic music is divided in many variants that follow their own philosophies.

i suggest "ishkur’s guide to electronic music", freely edm guide available on the internet. there, it is posible listening to hundreds of sound samples and meet a great amount electronic music genres. it easily shows how very style evolve from someplace to somewhere. what i like the most in this map is the disposition of the musical genres that are separated and, at the same time, interconnected by families. for example, the families or variants of house music, trance, techno and that in which the chemical brothers can be better placed, the family of breakbeat. the hip hop, the freestyle, and the brazilian funk of rio de janeiro are also known for its broken beats. they are quite different, but similar in this aspect. breakbeat beats are not as marked and uniform as those of house music; but more loose and unpredictable... taking back...

ed simons and tom rowlands had resembling paths before becoming the chemical brothers of electronic music. in fact, they are not blood brothers. ed, born in herne hill, studied in public schools of south london. tom was born in kingston-upon-thames and studied in berkshire, neighbor county to his home in henley-on-thames, also in south london. both of them grew up listening to post-punk artists that were influenced by the previous movement, punk-rock. — it has approchead politics, fashion, revolution, and many taboo themes, until then, deeply limited to the economical elite and to conservatives from the 70s. british avant-garde artists, ahead of their time, like new order, cabaret voltaire and the smiths, were between their favorites. this groups started to use electronic instruments with much frequency, definitely, interconnecting the rock music and the electronic music. besides of liking post-punk, ed simons and tom rowlands were fascinated by hip-hop music.

— electronic music genre evolved from united states soul music — and by artists like public enemy, eric b & rakim, schooly d and beastie boys. ed simons and tom have met in the university of manchester, where they have studied history, in 1991. they were a lot involved with the dance music scene of the city and attended local events. simons, however, was more experienced in that, because since his adolescence, he have attended london clubs to run away from an unpleasant routine. another great task of the duo was the search of discs together with digging — act of researching rare musical tracks. soon, this practice has taken them to the desire of playing the discs in presentations. — and what are the best places to start a djing career? weddings and friend homes! naked under leather of manchester and heavenly's sunday night in london, had the first performances of the chemical brothers as resident djs. but, not under this name. the brothers borrowed, for a long time, the artistic name of two producers, djs of california, that were their major inspiration, the dust brothers.

after the exposition of the english dust brothers version, it was raised the chances of them being perceived by the originals from united states. it really happened, after a lawsuit threat, the english duo had to change their artistic name.6800:11:30,900 --> 00:11:34,840it was culminated the emergence of the chemical brothers. title that would be justified for the great quantity of rare musical parts combined and mixed to their new big beat style. musical experiments that really resemble chemical processes of so phenomenal they are. [short stretch of "song to the siren" in the background] the chemical brothers discography is extremely big. there are hundreds of their discs spread worldwide. it is almost imposible to talk about all of them in details, however, it is reasonable talking about their 8 studio albums. launched until 2015, and also reasonable talking about some impressive works until the final of this video. still under the name of the dust brothers, the english duo produced their first song

the single “song to the siren”, released in vinyl by diamond records, october 1992. between those years and 1995, ed simons and tom rowlands had time to finish the history course, release 2 eps, 1 album and change their record label. through junior boys own, the discs fourteenth century sky and my mercury mouth closed the dust brothers era. chemical beats, song from the first ep, served as the perfect inspiration for the definitive artistic name of big beat masters, the chemical brothers. to make it clear: single is an english word that means unique, only or sole. it denominates a song chosen to be commercially highlighted by artists. single can also refer to a disc with some different versions of the same song.

extended play (ep) is a collection more big than a single and smaller than an album. generally, an ep has 5 songs. albums, on the other hand, bring many songs, the majority of them have more than 11 tracks and some trespass 20 compositions. the first album of the chemical brothers is exit planet dust. it was launched, in the beginning of 1995, in a partnership between junior boy’s own and freestyle dust (musical label exclusively created for this potential duo production). in this way, sealing a friendly change of record labels; to virgin records, responsible for “freestyle dust" label and for the 7 future studio albums of the chemical brothers. the list of tracks presented are “leave home”, “in dust we trust”, “song to the siren”,

“three little birdies down beats”, “fuck up beats”, “chemical beats”, "chico's groove", "one too many mornings", "playground for a wedgeless firm" “life is sweet” and “alive alone” the album highlights were chemical beats, song to the siren and one too many mornings (previously released as singles).

besides: leave home (present in the electronic games ssx 3, wipeout 2097 and dj hero); life is sweet (with vocals of tim burgess from the charlatans group; and alive alone (with vocals of beth orton). [introduction of "block rockin' beats" in the background] the second album, released in april 1997, is called diggy your own hole. it premiered with two great success, setting sun and block rockin’ beats, that reached number 1 on the main musical singles chart of the united kingdom, the uk singles chart. setting sun, however, did it in october 1996, because it was released before the album in september of that year. the chillout “where do i begin”, also vocalized by beth orton, "the private psychedelic reel" (with an iconic instrumental performance of jonathan donahue), and “elektrobank”, sung by the new yorker rapper keith murray; were another highlights of the album. diggy your own hole became the first album of the chemical brothers to be number one on the united kingdom, during the week of 19 april, 1997.

since that, it would begin a tradition in what the next studio albums of the chemical brothers would top the albums chart of british union. diggy your own hole is composed of "block rockin' beats"; "dig your own hole"; "elektrobank"; "piku"; "setting sun" (with noel gallagher, former vocalist of the band oasis); "it doesn't matter"; "don't stop the rock";

"get up on it like this"; "lost in the k-hole"; "where do i begin" and "the private psychedelic reel". [build up with a low frequency sound of the music "under the influence"] the third album, surrender, was available in 1999. its greatest success is “hey boy hey girl” that have reached the third place of the united kingdom. this song has a sample of the sentence “hey girls, hey boys, super star djs, here we go” it can be originally listened on the song “the roof is on fire” of rock master and the dynamic three.

in 2011, “hey boy hey girl” was considered, by the sexagenarian magazine, new musical express, one the "150 best tracks of the past 15 years". the official video of this single, directed by dom & nic (also responsible for videos of previous songs like “setting sun” and “block rockin’ beats”) is, still today, one of the most famous ones of the chemical brothers. in it, a little girl watch every people as if they were visible skeletons and she goes through bizarre situations that remit to the body in movement. the album surrender brought in its tracklist "music: response"; "under the influence"; out of control", sung by bernard sumner (founding member of the historic bands joy division and new order); "orange wedge";

"let forever be" (featuring noel gallagher one more time); “the sunshine underground”; asleep from day” (with sweet vocals of hope sandoval); “got glint?”; “hey boy hey girl”; “surrender” and "dream on" (with jonathan donahue, he that this time have also shared his voice). [short introductory stretch of the song "the test"] the fourth studio album is come with us, officially launched in the beginning of 2002.

it was number 1 on the musical charts of two other countries where it predominates the english language, australia and new zealand; besides continuing the work of past albums after being the third one in sequence that have reached the first reproduction position in the united kingdom. the music list is “come with us”, "it began in afrika" and star guitar (three songs that are present on "dance club songs" top 10 of billboard's chart that measures what are the most played tracks in dance music clubs); “galaxy bounce”, “hoops”, “my elastic eye”, “the state we’re in” (another with beth orton);

“denmark“; “pioneer skies” and “the test” (sung by richard ashcroft, the then vocalist of the band the verve, recognized for the worldwide success of the song bitter sweet symphony). [brief instrumental of the song left right] the fifth album was named push the button. release occurred in january 2005; push the button brings the songs “galvanize” — with the usa rapper q-tip — most popular song from the album “the boxer” (with one more vocal of timothy burgess) and “believe” (with kele okereke, singer of the english band block party). this song has a videoclip that have won mtv europe music awards of 2005 in best video's category (another musical video directed by dominic hawley and nic goffey.

continuing, there are also the tracks “hold tight london" (with anna-lynne williams's voice); “come inside”; “the big jump”; left right (with anwar superstar); “close your eyes” (with the participation of the rock group the magic numbers); “shake break bounce”; “marvo ging” and the eleventh song “surface to air”. the album push the button have still won a grammy, after being nominated as best electronic/dance album in january 2006. however, it was not the first time the chemical brothers have grabbed a grammy.

it because the music “block rockin’ beats”, of the second studio album, was chosen the best rock instrumental performance in 1998's ceremony. but, there are only two problems, block rockin’ beats has parts with vocals of schoolly d and it isn't really a rock composition, besides of it having the presence of a fantastic guitar sonority. ed and tom had even made joke, commenting about this prize, during an interview to the former new york rock website. tom rowlands said: “best rock instrumental, yeah (ironic)”. it is somewhat incredible what they have came up with. oh, please! “they were really seeking for a label or a drawer to put us in”. ed simons stated: “alright, anyway we have taken the prize, then whatever”. [musical stretch from "the salmon dance" playing on the background] we have reached to the sixth album of the chemical brothers. it is called we are the night and came out in 2007.

as the previous one, it was chosen best electronic/dance album melhor of the grammy, this time, in the 50 ceremony, performed in january 2008. the album tracklist has “no path to follow” (with vocals of willy mason); "we are the night"; "all rights reversed" — a curious name, instead of the well known sentence all rights reversed. — (collaboration with klaxons and lightspeed champion); the songs “saturate”; “do it again” (with ali love); “das spiegel”; “the salmon dance” (literally) vocalized by fatlip.

this is for sure the most recognized the chemical brothers song to the general public. firstly, because of the outstanding videoclip, another work of the directors dom & nic. the video was quite popularized on the television, including old brazilian free-to-air channels like mtv and mix tv. the missing tracks of the album we are the night are "burst generator"; "a modern midnight conversation"; "battle scars" (again with willy mason); “harpoons” and “the pills won’t help you now” (bringing tim smith, the then vocalist of the group midlake from the usa).

[swoon stretch] the seventh album is further, premiered in july 2010. it broke off a sequence of five the chemical brothers studio albums that have reached the first sales and reproductions spot on the united kingdom. the digital and physical sales, and reproductions on streaming services like spotify and deezer, could not be contabilized in the albums chart of official charts company (firm that calculates these data in britain lands). further was consciously released in conjunction of a bonus dvd with videos for the eight album songs and it gave access to an ipad promotion. this promotion was considered ineligible by charts company and further could not appear in the britannic charts of this company. the music list brings the tracks:

“snow”, “escape velocity” (soundtrack of the game gran turismo 5); “another world”; “dissolve”; “horse power”; “swoon” (music that gained prominence through the remix of lindstrã¸m & prins thomas — considered one of the greatest songs of the special flight facilities's compilation "decade mix from 2002 to 2012" — and boys noize summer mix, remix of swoon that can be found in pro evolution soccer (pes) 2012 soundtrack); following the listing it comes "k+d+b" and lastly "wonders of the deep", eighth track of the album further.

during the presentations of the chemical brothers it is known that computers and synthesizers are positioned in shelves forming a circle, where in the center, the almost anonymous, ed simons and tom rowlands, adjust each timbre destined to the dancing experiments in the audience. the main attractions of further era were not only the well known good sound quality or the duo's indifference to abdicate the eligibility of their album in a popularity ranking, but also the high technology utilized on the visual production of videos, inserts and shows of the chemical brothers. the mini documentary “making of the visuals”, delivered on that dvd version of further, shows the creation process of images in this period. adam smith and marcus lyall form another pair of recurrent directors in the chemical brothers career. they are responsible for techniques of visual production found in the album further, including future tours, acclaimed for improving the musical experience created by...

the chemical brothers motion capture techniques were very explored to show unique scenes during their musical performances. mona lalwani from engadget technology micro blog describes in a report that "the chemical brothers bring hollywood special effects to dance music". don’t think, big live concert, recorded in japan, during 2011 fuji rock festival, demonstrates the impressive audiovisual potential obtained in further era: where visual projections interact with some persons on the audience, making even the japanese people — usually accustomed with new digital technologies — open-mouthed. [sample of the homonymous single c-h-e-m-i-c-a-l] finally, born in the echoes, the eighth and last studio album of the chemical brothers, launched until the recording date of this video.

it began being sold in july 2015. this came back in disputing the first positions of the united kingdom musical charts. and what we have already saw happened again, this time, accompanied of a record. two weeks later of its launch, born in the echoes topped the british albums chart and the chemical brothers became the dance music project with more number one albums — totalling 6 — in the charts history of the united kingdom. as the majority of their other albums, born in the echoes contain 11 songs in the main version. they are: “sometimes i feel so deserted” (with daniel pearce); “go” (with another vocal of the rapper q-tip);

“under neon lights” (with vocals of the musician st. vicent); eml ritual" (another song with ali love); "i'll see you there" (song that bring the bill bissett's poetry); "just bang"; "reflexion"; "taste of honey"; "born in the echoes"; "radiate" and "wide open", with the participation of the musician beck hansen, song that have attained much attention because of the official video clip

in what a ballet dancer slowly sees her body transformed in digital three-dimensional textures. [the devil is in the details playing on the background] to finish the artistic biography of the chemical brothers it will be necessary turning back to 2010/2011; period in what both worked in another album, beyond further, the complete soundtrack of a movie. the soundtrack of hanna, feature film starred by the irish actress saoirse ronan, perfectly decays on the plot with elements of action, adventure, a thriller and science fiction. the soundtrack album was licensed to universal studios and composed of the tracks: "hanna's theme"; "escape 700";

"chalice 1"; "the devil is in the details" (one of my favorite because it is theme of the antagonist isaacs, one of the craziest in this history); "map sounds or chalice 2"; "the forest"; "quayside synthesis"; "the sandman"; "marissa flashback"; "bahnhof rumble"; "the devil is in the beats" (acoustic dance version of “details” that holds the public during the film credits);

"car chase or arp worship" (another track with a double name); the thirteenth of them with the name of three scenes “interrogation / lonesome subway and grimm's house"; "hanna vs marissa"; "sun collapse"; "special ops"; "escape wavefold" (music that is simply magnificent with the getaway scenes from the laboratory in the beginning of the film); "isolated howl"; "container park" and “hanna's theme (vocal version)”, vocal theme with the voice of stephanie dosen. this is how it ends this spoken resume of the chemical brothers's career.

artists of essential knowledge that need to be plenty listened by any electronic music fan and primarily breakbeat. in the description there are separate materials, videos, interviews and more information for those who want to know more about tom rowlands and ed simons. names that are already marked as some of the greatest and best representatives of electronic music in the 20th and 21st centuries.

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