became the DJ king of TV-commercial residuals.
"Under the Influence," "Out of Control," "The Sunshine Underground," "Dream On": Most of the song titles here are blatant valentines to the first great age of E's and raves, Britain's fabled acid-house summers of 1988 and '89. Rowlands and Simons were there as young, thunderstruck clubbers, and they soak much of this record in literal, cheery reminiscence. "Under the Influence" is all throb and velocity -- an insistent, circular synth figure; zippy drum-machine sizzle; dive-bombing bass. At one point, the music comes to a series of gulping stops, as if Rowlands and Simons were braking the track on a turntable in real time. As the song suddenly rocks back to full speed, you have a good idea of what it was like to ride the music in a field full of loons, all off their heads on pills and shimmy.
The pneumatic roll and vocoder-filtered refrains in "Music: Response" and "Got Glint?" reference even more ancient daze: the crucial, early robo-soul of Detroit techno pioneers Kevin Saunderson and Juan Atkins; Afrika Bambaataa's early-Eighties fusion of Bronx break beats and Kraftwerk. Rowlands and Simons also evoke, brilliantly, the first stirrings of British post-punk dance culture in "Out of Control" -- a shit-hot mimicking of the 1983 New Order classic "Blue Monday" -- with, for extra cheek, lyrics and vocals by New Order's Bernard Sumner (crooning with perfect repressed-English-schoolboy menace).
If Surrender was simply meticulously rendered nostalgia, it would be just pleasant, a step down from the Chemicals' 1995 rave-tastic debut, Exit Planet Dust, and the heaving Acid Test funk of the pair's '97 chartbuster, Dig Your Own Hole. But this is a record that also moves. Dance music is primarily about the beat; without it, there is no dancing. But the best dance music is about what happens over, under, in the thick of a rhythm -- about the tidal dynamics and programmatic tension feeding the pulse. Surrender is rich in both.
Rowlands and Simons know how to get busy with the barest essentials. "Hey Boy Hey Girl" is basically a single percolating riff, a knocking beat and the starting-gun chant from Rockmaster Scott and the Dynamic Three's 1985 single "The Roof I
Surrender starved fans of the Chemical Brothers' trademark big beat sound, which was playing itself out by then anyway. Always one step ahead, the duo made a mellower album with vocal help from Beth Orton, Tim Burgess and Hope Sandoval, who gave them a Spiritualized sheen.
