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First single and opening track, "Galvanize", features Q-tip on vocals. It's a little more downtempo than the brothers of late as they got wrapped up in a need to produce a dancefloor killer to match the heady days of "Hey Boy, Hey Girl"--it's not too different, not too clever, but has enough of the necessary "oomph" to make it an excellent start to the album. In terms of classic sounding tracks, there are "Come Inside" and "The Big Jump", the former a big-beat spectacular and the latter a definite tune to be heard "out", replete with enormous slidey bassline and sticky acid stabs. A standout in a similar vein to "Galvanize" (although possibly better) is "Left Right" featuring Anwar Superstar. It's got a bold hip-hop swagger and politically charged lyrics over a chunky riff that wouldn't sound out of place in a seventies TV cop show. There are only two of the customary chillout tracks (think Beth Orton), there's "Hold tight London", an upbeat soca-styled song that's okay but not nearly as beautiful as sweeping epic "Close Your Eyes" featuring the Magic Numbers.
Closing Push the Button are two more guitar-based tracks, the country-rocking loop of "Marvo Ging" and the brilliant mish-mash of styles that is "Surface to Air", a sort of rapturous amalgam of the brothers' own "Golden Path", the Strokes and festival favourites Dreadzone. A fantastic end to a consistent album that easily outshines its predecessor, Come with Us, and will hopefully herald a great year for electronic music.--David Trueman
Review
Bigger, bolder and more adventurous that what's gone before, Push The Button is almost certainly their most accessible in a discography that has seen them chalk up an impressive 8 million units in a little over a decade.
As before, collaborations are plentiful with Q-Tip's wordy rhymes gracing the lead single, "Galvanize". Electronica returns to centre stage with former collaborator and Charlatan, Tim Burgess (who first featured on 1995's Exit Planet Dust), making a welcome return on the cutting edge, hook-laden "The Boxer"; a theme that is replicated in near-"Block Rockin' Beats"-style on the angst "Come Inside".
While "The Big Jump" will undoubtedly have the neighbours bangin' on the wall - this intoxicating rush of synthesizers, electronics and layered drum machines needs to played at maximum volume to be true appreciated and understood.
But it's not all steam rollin' beats and tormented wordology. Anwar Superstar (Mos Def's brother) represents the hip-hop nation on the edgy militant "Left Right" - a whirling dervish track with Middle-Eastern political stylings. While from the other end of the cultural spectrum Kele Okereke (singer with art-rocks Bloc Party) is featured on the chewier funk of "Believe" that employs both tuneful tones and obscure samples.
But all is not lost. Moby's long awaited Hotel will no doubt have TV advertising executives salivating in anticipation, while new sets from Daft Punk and Timo Maas show there's a definite air of optimism to be had and plenty of reasons to pitch a tent in a muddy field.
On Push The Button the Chem's once more utilise their trademark crystalline electronica, oddball percussive journey, and kaleidoscopic sonic textures. Once more Ed and Tom have constructed a blindingly innovative and relentlessly propulsive album that's an exhilarating listen and is a worthy addition to an already impressive collection. --Jack Smith
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Customer Reviews
The opening track is in some ways nothing like the Chemical Brothers' previous work, but also contains elements typical to their style, and was the perfect choice as the debut single from this album. This is followed by The Boxer, a track that sounds to me influenced by Fatboy Slim's more recent work, and one that I didn't like on first listen but has since grown on me. Not one of my favourites but a good track nonetheless.
We then come to what is my favourite track on Push The Button, Believe. I would rank it as one of my all-time favourite Chemical Brothers tracks. Everything about it is brilliant with huge drums, dirty "in your face" bass, and adrenaline-fuelled lyrics and tune. This is followed by three more blinding tracks that are typical Chemical Brothers in style and execution, namely Hold Tight London, Come Inside and The Big Jump.
We then come to Left Right, probably my least favourite track. I am a hip-hop fan, but I haven't taken to the rapping on this track. The over-stated political message, with lyrics such as "What's the difference between Bush and Saddam...?", also puts me off this track. It has its moments, and I don't have to skip it or anything, but it's my low point of the album.
... Read more ›The main reason is the length of the album, and in particular, certain tracks that went on too long without any new ideas being brought in. I suspect a lot people will be annoyed how it appears to gain mommentum then lets it go for no good reason. 'Believe' is the main offender, and should have been the radio edit length, and 'Hold tight London' should also have been about 2 minutes shorter, as this would have meant the album flowed into the middle part quite well. Some tracks seem slightly out of place, like 'Left right', which should have been linked with 'Galavanise', as could 'Shake break bounce' (although this could also have been placed next to 'The Big Jump'). 'Close your eyes' is very indulgent, and could have been left out, or simply used as a closing song - it just doesn't work this early in the album. 'Surface to air' is class but again could be slightly shorter - a common theme that makes the album seem unfocused and a bit stale in places. It scores well on the diversity of styles and is very occasionally sublime.
So, all in all, an album with no real stinkers, and one or two gems, that's ultimately let down by long and flabby versions, and is very poorly ordered. Silly mistakes to make really. Exit Planet Dust should have pointed the way, as it excelled on these points, but instead they've frustrated most people. A real shame, but i still rate it as maybe 3rd, in terms of favourite chems albums. 'We Are The Night' is a lot better though, and is almost a more accomplished version of this album. So 'Exit Planet Dust' is the best 'dance' album they've done, and 'We Are The Night' is their best album in terms of diversity.... Read more ›
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