Alright. It’s past midnight on a Saturday; I slept in this morning; I’ve been idly passing the time all day. Basically, feeling great. Time to pour myself a wee dram of the Glenmorangie and check out these Science Siblings you keep going on about. Okay. (Ah, that’s nice scotch.) Going to start this right now.
Well, I’m staggered. That had everything. Seriously, what doesn’t this album have? I’m glad you had me watch the video, because it only added to the sensory overload. There’s a famous editorial cartoon about Mahler (my favourite composer, you’ll recall) that I suspect is relevant here:
(The caption reads, approximately: ‘My god! I forgot to include the kitchen sink! I’d better write another symphony.’)
There is nothing I appreciate more than complete sensory overload. That is a characteristic that’s common across my whole taste profile, from music to movies to radio programs. To demonstrate how deep it goes, and by extension how well Further worked on me, I need to engage in a little musical autobiography. Bear with me.
The first music that I remember liking, way back when I was too young to make musical choices for myself and I just heard whatever my parents had on, was always either dominated by orchestras or synthesizers. It was slim pickings for orchestral music: usually either Andrew Lloyd Webber soundtracks or Yanni Live at the Acropolis — music that I categorically rejected as soon as I discovered Mussorgsky and Shostakovich. (I remain ashamed enough of these early taste indiscretions that I can’t even bear to link to Lloyd Webber or Yanni. This speaks more negatively about me than about either of them, I suspect.)
But the synthesizer selections were immediately more promising: I remember an immediate affinity for Vangelis — particularly his collaborations with Jon Anderson — and for Rick Wakeman. This led swiftly to an obsession with Yes, and subsequently to my entire adolescent identity.
But the thing that those early fascinations pointed towards — even the inauspicious pop orchestral stuff — was an obsession with what I’ll call timbral variety. The orchestral music had scores of different instruments with their own unique sounds working in tandem. The synthesizer music seemed to work towards the same goal with different tools. There was a ‘muchness’ to it, even when it was subtle and quiet.
And most of the music that I’ve intuitively loved over the years shares that same muchness. Prog was always partially defined by its expansion of the typical rock ensemble to include racks of keyboards, wind sections, auxiliary percussion and tape. Psychedelia is almost wholly defined by its sonic variety. The jazz I like tends not to be quartets and quintets, but rather stuff like Mingus, or electric Miles. And my preference in classical music has always been for huge orchestras used judiciously in the vein of Mahler, or indeed John Luther Adams.
Radiohead. Amon Tobin. Kanye. CHVRCHES.
It’s only comparatively recently that I’ve begun to appreciate music that operates with a smaller sonic palate: old-school rock, string quartets, combo jazz. And yes, punk.
I hadn’t heard the Chemical Brothers before, and I’m not at all well-versed in techno. All the same, listening to Further really felt like home. I may not have a tumultuous summer of 2010 to look back on, but I do have an entire life story scored by sonically massive, grandiose music like this. It felt like a walk through all of the elements I have ever appreciated in music in the past. I’m reminded of my brief dalliance with Tangerine Dream, much to my friends’ confusion. I’m reminded of the period when old Yes records were the centre of my universe. I’m reminded of the hours spent listening to Vangelis as a child and thinking ‘how does one guy make all those sounds?’
And the trip down memory lane culminates in an insight — a minor one, but an insight nonetheless: music has been the central throughline of my life because of its capacity to overwhelm.
The Chemical Brothers overwhelmed me. Basically, feeling great.