For Rave-Ready Electronic Duo the Chemical Brothers, a 10th Studio Album Is a Feat and a Challenge

Ed Simons, left, and Tom Rowlands of the Chemical Brothers perform onstage at Field Day, Aug. 20, 2022, at Victoria Park in London. (AP)
Ed Simons, left, and Tom Rowlands of the Chemical Brothers perform onstage at Field Day, Aug. 20, 2022, at Victoria Park in London. (AP)
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For Rave-Ready Electronic Duo the Chemical Brothers, a 10th Studio Album Is a Feat and a Challenge

Ed Simons, left, and Tom Rowlands of the Chemical Brothers perform onstage at Field Day, Aug. 20, 2022, at Victoria Park in London. (AP)
Ed Simons, left, and Tom Rowlands of the Chemical Brothers perform onstage at Field Day, Aug. 20, 2022, at Victoria Park in London. (AP)

Beloved British electronic duo the Chemical Brothers released their 10th album on Friday, more than three decades into their career. But does it get any easier with time?

Not according to one-half of the outfit, Tom Rowlands.

“I think it’s just more complicated” he said, speaking via Zoom from his studio in the UK. “Everyone’s got a new theory on how to do it.”

Prior to the album’s release, Rowlands and Ed Simons shared four singles from the forthcoming album, “For That Beautiful Feeling” — including their second collaboration with Beck, the track “Skipping Like A Stone.” They previously worked with the singer on the 2015 track “Wide Open.”

They also made it a point to test the tracks out on dance floors and festival fields prior to the album — “playing them (live) as we write them,” as Rowlands explains — which, in turn, influenced their studio decisions.

“I don’t know if it’s the right way to release an album,” he smiled. “I can’t quite keep up with what is the right way, but it’s how it’s happening.”

It’s working. Audiences responded well to the smattering of tracks from “For That Beautiful Feeling” that the Chemical Brothers wove into their sets this summer, no doubt drumming up excitement for the new release.

The rave-ready “No Reason” became the lead single from the record — because it felt “fresh and different” and also “really fun to play live,” says Rowlands. But really, it’s all about how he and Simons feel about the track — and sometimes if a song doesn’t go over well in front of an audience, well, that just solidifies its value to the duo.

“Sometimes something going down really badly, will just convince you of its greatness even more,” Rowlands says of this live-first tactic. “You’re like, ‘Yes. People aren’t ready for this!’”

Together since 1989, with 10 albums and countless performances across the globe, the duo has seen their fair share of the good and the bad.

Headlining the Pyramid Stage at Glastonbury Festival in 2000 is a standout — though Rowlands says it was “so massive it’s hard to get a handle on what you’re doing.”

And then there’s the bad: A very different experience during a 9:30 a.m. set in Ibiza, early on in their career that didn’t quite go to plan.

They were “the wrong people at the wrong place at the wrong time,” Rowlands recalled. “Just lots of anger and tears ... sensible people would’ve gone to bed and then have a nice juice breakfast.”

For the nighttime live music lovers, the Chemical Brothers are looking forward to getting back on the road for a tour that kicks off Oct. 26 in Glasgow. They’re eager to use stunning visuals from longtime collaborators Adam Smith and Marcus Lyall — and test drive additional music that didn’t make the record, or as Rowlands puts it: “thousands of hours of noodling.”

On tour, “you can do your lights exactly how you want and get everything really tuned to how you want it to be,” Rowlands added. “That’s really exciting for us.”

In addition to the new album and the tour, the duo will release a book in October titled “Paused in Cosmic Reflection,” authored by Simons and Rowlands’ friend Robin Turner, with their input. But as a band who are constantly looking forward, it isn’t something Rowlands is quite ready to read.

“I’m going to save it for a flight or retirement.” He smiled.



Alfonso Cuarón, Cate Blanchett Bring Series ‘Disclaimer’ to Venice Film Festival 

Cast member Cate Blanchett poses on the red carpet during arrivals for the screening of the mini-series "Disclaimer", out of competition, at the 81st Venice Film Festival, in Venice, Italy August 29, 2024. (Reuters)
Cast member Cate Blanchett poses on the red carpet during arrivals for the screening of the mini-series "Disclaimer", out of competition, at the 81st Venice Film Festival, in Venice, Italy August 29, 2024. (Reuters)
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Alfonso Cuarón, Cate Blanchett Bring Series ‘Disclaimer’ to Venice Film Festival 

Cast member Cate Blanchett poses on the red carpet during arrivals for the screening of the mini-series "Disclaimer", out of competition, at the 81st Venice Film Festival, in Venice, Italy August 29, 2024. (Reuters)
Cast member Cate Blanchett poses on the red carpet during arrivals for the screening of the mini-series "Disclaimer", out of competition, at the 81st Venice Film Festival, in Venice, Italy August 29, 2024. (Reuters)

Alfonso Cuarón is the first to admit that he does not know how to make a television series. He might even be too old to learn how, he said.

The Oscar-winning filmmaker has technically now made a series, the seven-part AppleTV+ show “Disclaimer,” four episodes of which premiered Thursday at the Venice Film Festival. But he did it his way: Like a film.

Based on Renée Knight’s 2015 book of the same name, “Disclaimer” is a psychological thriller about a documentarian and journalist, Catherine Ravenscroft (Cate Blanchett), who discovers she’s a character in a novel that reveals her darkest secret.

Cuarón, Blanchett and Kevin Kline all made the journey to the Italian film festival to debut and speak about the show before it begins streaming on Oct. 11.

“I read the book and immediately in my mind I saw a film, but I didn’t know how to make that film,” Cuarón, the director of films including “Gravity” and “Roma,” said in a news conference Thursday. “It was way too long. I could not shape it as such.”

It was only later, he said, that he thought it might work in longer form, inspired by predecessors like Rainer Werner Fassbinder, David Lynch and Krzysztof Kieślowski.

“I was intrigued and that was the point of departure,” Cuarón said.

He started writing with one name in mind for Catherine: Blanchett, terrified that she might say no. Not only did she not say no, she also was the one who suggested Kline for a British character. Sacha Baron Cohen plays her husband in the show and Kodi Smit-McPhee plays her son.

All soon realized that approaching it as a film, and shooting it as a film, would take much longer than a normal series. He even enlisted two cinematographers, Emmanuel Lubezki and Bruno Delbonnel, to add a distinct visual language to the different perspectives in the story. All told, it took about a year.

“It was a really long process,” Cuarón said. “And I really feel for the actors because they were stuck with the characters for way too long.”

Blanchett laughed that they were “still recovering.”

The final three episodes will screen Friday at the festival. Though the festival is most known for its feature film premieres, it does play host to select series as well. This year those also include Joe Wright’s Mussolini biopic “M: Son of the Century,” Rodrigo Sorogoyen’s “The New Years” and Thomas Vinterberg’s “Families Like Ours.”