Proponents of the much-maligned big-beat style of dance music (i.e. the Chemical Brothers), the Propellerheads -- keyboardist/bassist/DJ Alex Gifford and drummer/DJ Will White -- sprang out of Bath, England in 1996 to achieve almost overnight success in the U.K. with their brand of unabashed party techno, which combines strains of hip-hop, acid... [+] Read More

Proponents of the much-maligned big-beat style of dance music (i.e. the Chemical Brothers), the Propellerheads -- keyboardist/bassist/DJ Alex Gifford and drummer/DJ Will White -- sprang out of Bath, England in 1996 to achieve almost overnight success in the U.K. with their brand of unabashed party techno, which combines strains of hip-hop, acid house, jazz-funk, and spy-film soundtracks. Gifford began his career as a studio musician, playing keyboards for Van Morrison and saxophone for the Stranglers, among others, before joining dance collective the Grid. After a stint on the staff of Peter Gabriel's Real World Studios, where he helped write and produce the well-received Arcane compilation, Gifford decided to start recording his own music, and sought out local drummer White. In 1996, the duo released its first EP, Dive, on Wall of Sound; almost immediately, the title track was licensed by Adidas for use in a television commercial. The follow-up, Take California, appeared later that year, and the title track became a significant underground big-beat success. The 1997 Spybreak! EP was another hit, demonstrating the duo's love for spy-film soundtracks; later in the year, the group hit the British Top Five with a remake of the Bond theme "On Her Majesty's Secret Service," recorded for the compilation Shaken and Stirred: The David Arnold 007 Project. Remixes for acts like Luscious Jackson, Soul Coughing, and 808 State followed, and Propellerheads signed to DreamWorks. The band made its U.S. debut in 1997 with a self-titled CD5, which contained the new single "Bang On!," as well as several old and new tracks. In early 1998, the Propellerheads released their full-length debut, Decksandrumsandrockandroll, to generally positive reviews. ~ Steve Huey, All Music Guide [-] Hide

More old-school hip-hop, electro and ragga than big-beat techno (though they're often pigeon-holed that way), the Freestylers were formed by the trio of Matt Cantor, Aston Harvey and Andrew Galea. All three were British b-boys back in the day, and were heavily involved in Britain's dance scene by the late '80s, both as DJs and producers --... [+] Read More

More old-school hip-hop, electro and ragga than big-beat techno (though they're often pigeon-holed that way), the Freestylers were formed by the trio of Matt Cantor, Aston Harvey and Andrew Galea. All three were British b-boys back in the day, and were heavily involved in Britain's dance scene by the late '80s, both as DJs and producers -- Cantor recording as Cut'n'Paste, 2 Fat Buddhas and Freska All Stars among others, Harvey as Blapps! Posse (author of the 1990 breakbeat classic "Don't Hold Back"). Harvey had also worked with Rebel MC and Definition of Sound, but after meeting Galea, the pair began recording together as Sol Brothers and soon brought Cantor into the fold as well.

Taking the name Freestylers from their first sample (Freestyle's "Don't Stop the Rock"), the trio released their first single, "Drop the Boom (AK-48)" and formed their own Scratch City Records to release it. The track was a prime slice of vocoderized electro, and became an underground club classic as far afield as bass-driven Miami. The Freestyle EP followed late in 1996, and Freestylers also released singles on Freskanova (home of Cantor's many solo projects). The group even managed a chart hit (and Top of the Pops appearance) with 1998's "B-Boy Stance," a collaboration with vocalist Tenor Fly. A spate of remixing followed, for Audioweb, Afrika Bambaataa and the Jungle Brothers (the latter a pair of the Freestylers' prime influences). The trio also helmed the big-beat compilation FSUK 2 and contributed a Radio One Essential Mix (where Beenie Man, Public Enemy, the Fall and Whodini all rubbed elbows). Live appearances at Glastonbury and around the European festival circuit met with much praise, and the Freestylers finally released their debut album We Rock Hard in 1999. The mix album Electro Science followed a year later. ~ John Bush, All Music Guide [-] Hide

L.A.'s Crystal Method have been referred to as America's answer to the Chemical Brothers. A dance-based electronic duo with a definite rock band feel, the comparison would seem appropriate, although it tends to erase what makes the group distinct: a solid base in American hip-hop, rock, soul, and pop. Formed in 1993 by Ken Jordan and Scott... [+] Read More

L.A.'s Crystal Method have been referred to as America's answer to the Chemical Brothers. A dance-based electronic duo with a definite rock band feel, the comparison would seem appropriate, although it tends to erase what makes the group distinct: a solid base in American hip-hop, rock, soul, and pop. Formed in 1993 by Ken Jordan and Scott Kirkland, Crystal Method is the most recent stop in a string of projects that led them from their native Las Vegas (and some forgettable four-track stabs at vocal house music), to the early-'90s L.A. rave scene. Drawn in by its youthful idealism, Jordan and Kirkland became absorbed by L.A.'s underground club culture and began knocking out tracks inspired by their experiences. On the strength of one of their demos, Crystal Method signed to Steve Melrose and Justin King's City of Angels imprint in 1994, and their debut single, "Keep Hope Alive," appeared soon after. The title was in reference to L.A.'s waning rave scene (burdened by constant police pressure and a string of random violent incidents) and became something of an anthem due to the endless barrage of remixes and alternate versions that appeared. The pair's demand to be taken seriously as a band (as opposed to the enforced anonymity of most techno acts, and something of a new concept for American dance producers) extended to incessant live performances, and Crystal Method's increasing popularity both in the clubs and among radio jocks led to a deal with Geffen affiliate Outpost Recordings in 1996. The group's debut LP, Vegas -- an unabashed party record bathed in acid, funk, rock, and big beat hip-hop -- appeared in mid-1997 and sold very well. The follow-up Tweekend was released four years later, and the duo inaugurated a series of mix albums (Community Service) in 2002. Third album Legion of Boom followed in 2004. ~ Sean Cooper, All Music Guide [-] Hide

Based in Birmingham, Bentley Rhythm Ace are Mike Stokes (aka Michael Barrywhoosh) and ex-Pop Will Eat Itself bassist Richard March (aka Barry Island). The group formed in 1995 after Marsh was introduced to Stokes at the house party of a mutual friend where Stokes was DJing. Discovering a shared love for screwball novelty records and offbeat... [+] Read More

Based in Birmingham, Bentley Rhythm Ace are Mike Stokes (aka Michael Barrywhoosh) and ex-Pop Will Eat Itself bassist Richard March (aka Barry Island). The group formed in 1995 after Marsh was introduced to Stokes at the house party of a mutual friend where Stokes was DJing. Discovering a shared love for screwball novelty records and offbeat groove tunes, the pair met up afterwards to see if they couldn't make a go of a studio collaboration. To date, they've released two EPs and a long-player for Brighton's big-beat Skint label, attracting wide acclaim for their energetic, irreverent blend of hip-hop, funk, and the bizarre lounge, jazz, and exotica records that initially brought them together. The duo's head-scratcher of a name derives from their weekend habit -- also commemorated on their first Skint twelve, "This Is Carbootechnodiscobooto" -- of rare vinyl shopping at the ubiquitous car-trunk junk sales in their Midlands home; a good deal of the flavor of their material comes from their knack for fusing the fruits of those dusty weekend jaunts with tight, infectious rhythms and engaging arrangements. Following the release of their Skint debut, Stokes and Marsh took up a monthly residency at Heavenly's Sunday Social club (where the Chemical Brothers got their start), and their instant popularity has meant they've been something of a critic's darling ever sense. Their self-titled debut LP was released by Skint in 1997, and featured remixed versions of a few early tracks together with a number of new cuts. The pair have also cultivated something of a devoted club following through their campy live performances, which often involve strange and unusual costumes and props (probably originating from the same car boots as their records). ~ Sean Cooper, All Music Guide [-] Hide

Monkey Mafia's brand of big-beat "Brit-hop-amyl-house" is similar in respects to that of the Chemical Brothers, Fatboy Slim, and artists associated with the Skint and Wall of Sound labels. The production arm of Essex-born DJ Jon Carter's many club-related activities, the project began in 1995, following a string of tracks for Wall of Sound under... [+] Read More

Monkey Mafia's brand of big-beat "Brit-hop-amyl-house" is similar in respects to that of the Chemical Brothers, Fatboy Slim, and artists associated with the Skint and Wall of Sound labels. The production arm of Essex-born DJ Jon Carter's many club-related activities, the project began in 1995, following a string of tracks for Wall of Sound under the name Artery and coinciding with his residency at Heavenly's influential anything-goes weekly, the Sunday Social. Carter's musical past actually reaches quite a bit farther back than London's post-acid house big-beat scene; he was the member of a number of pub-rock and psychedelic cover bands while studying philosophy in Southampton. As such, his influences run a far wider berth than usual suspects such as Kraftwerk, Public Enemy, and Double D & Steinski, including obscure old-school hip-hop and electro,'60s rock and soul, and his longest-running obsessions, dancehall and reggae.

Carter moved to London around 1993, learning engineering and production working in the studios of (oddly) hardcore and jungle labels such as Trouble on Vinyl and No U-Turn. He passed a demo of ragga-tinged midtempo breakbeat tracks he assembled in his spare time to Wall of Sound's Mark Jones, who released a few of them before losing Carter to deConstruction in 1995. Carter's debut for the label, "Blow the Whole Joint Up," appeared that same year. An instant hit among the capital's flourishing acid-hop scene, the track earned Carter remix work for the Prodigy and Saint Etienne, as well as a steady stream of DJ gigs (the latter of which tended to limit his release schedule). A pair of EPs managed to trickle out however, including 1996's "Work Mi Body" and 1997's "Lion in the Hall." The long-awaited full-length Shoot the Boss appeared in late 1998. ~ Sean Cooper, All Music Guide [-] Hide

While his debut album ran with the Wall of Sound crowd to the detriment of some interesting ideas, Jacques Lu Cont came into his own with the second Les Rythmes Digitales album. Consider Darkdancer as Lu Cont's senior thesis in the major course of study: "History of Dance Music: The Early to Mid-'80s." And give him straight A's because he's... [+] Read More

While his debut album ran with the Wall of Sound crowd to the detriment of some interesting ideas, Jacques Lu Cont came into his own with the second Les Rythmes Digitales album. Consider Darkdancer as Lu Cont's senior thesis in the major course of study: "History of Dance Music: The Early to Mid-'80s." And give him straight A's because he's obviously done his homework and actually studied the texts, without resorting to rote memorization and subsequent regurgitation come test time. Every club-oriented stylistic speed-bump of the decade is right here, including the era of female dance-pop before Madonna (yes, it did exist) with "Take a Little Time," an earnest little electro-groover that earns Lu Cont bonus points for utilizing the crucial '80s diva Shannon. "Hypnotise" is a nice little electro-paranoia track to fit in with Bambaataa's "Planet Rock," and "Brothers" takes on streamlined dance intellectualism a la New Order (with a straining pseudo-bassline to match). The house era is probably best represented, with nods to Chicago jacking house -- complete with stuttered vocal tags -- on the standouts "Jacques Your Body (Make Me Sweat)" and "Music Makes You Lose Control." Even when he strays into territory last inhabited by Level 42, as on "Sometimes" (with Nik Kershaw on vocals), a great song and a great production rescue Lu Cont from anything potentially cringe-worthy. That's the secret of Darkdancer; well-written songs and excellent production skills -- plus a sense of fun that takes no prisoners -- make artistic originality nothing more than an academician's game. ~ John Bush, All Music Guide [-] Hide

It'd be a bit limiting to call the Boom Boom Satellites the Japanese version of Prodigy or the Chemical Brothers, though the comparison goes a long way to describing the sound of Out Loud. "Push Eject" features a breakbeat attack with a set of vocals from Michiyuki Kawashima very reminiscent of Keith Flint (though admittedly he sounds more like... [+] Read More

It'd be a bit limiting to call the Boom Boom Satellites the Japanese version of Prodigy or the Chemical Brothers, though the comparison goes a long way to describing the sound of Out Loud. "Push Eject" features a breakbeat attack with a set of vocals from Michiyuki Kawashima very reminiscent of Keith Flint (though admittedly he sounds more like Mark E. Smith a couple tracks later). It's clear that this album is much more than just a party record -- the vocoder dub of "Limbo" is impeccably programmed, and the live drums by Naoki Hirai add much to "An Owl," with trumpet, sax, and flute as well. What sets this album apart from most big beat casualties is the production -- like Si Begg's work as Buckfunk 3000, the Boom Boom Satellites embellish their version of rather uncomplicated breakbeat trance with dozens of little sonic touches that set each track apart. It's not the hackneyed Miles Davis impressions on "Batter the Jam No. 3" that make this a more important record than Crystal Method, it's just the natural ease of a well-produced album. ~ John Bush, All Music Guide [-] Hide

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Who would have figured that the English are, in reality, much less uptight and more genuinely humorous than Americans? The evidence lies in the hip-hop music that emanates from each nation. Mainstream American hip-hop of the late '90s consists mostly of posture or paranoia or darkness, a preoccupation with money, style, and MCing, while... [+] Read More

Who would have figured that the English are, in reality, much less uptight and more genuinely humorous than Americans? The evidence lies in the hip-hop music that emanates from each nation. Mainstream American hip-hop of the late '90s consists mostly of posture or paranoia or darkness, a preoccupation with money, style, and MCing, while mainstream British hip-hop such as that spun by Touche (ne Theo Keating, founder of influential British dance music imprint, Wall of Sound), who calls himself the Wiseguys and whose single "Ooh La La" rapidly shot to #2 in its native country on the back of a Budweiser commercial, is stylish, mostly instrumental, and completely fun. On his debut as the Wiseguys, The Antidote, Touche fills his songs with familiar and unfamiliar vocal samples alike-often the very same samples that American hip-hop DJs use with earnest reverence-but places them in soundscapes full of buoyant brass and strings, lighthearted sound affects, and clever samples; what results is hip-hop that doesn't take itself serious even as it does take serious the history from which it comes and the legacy that it continues. Of course, The Antidote is grounded just as firmly in the British dance scene as it is in hip-hop, but that only enlarges the bag from which Touche pulls his tricks, and, arguably, places him in more of a direct line with Afrika Bambaataa and the early hip-hop innovators (as well as their disciples such as DJ Shadow and Dust Brothers) than are most practitioners in the American hip-hop milieu. It is certainly much more open to sounds and textures, so that even when MCs do grace the tracks with their toasting (various MCs, most prevalently Americans Sense Live and Season, appear on a total of four songs)--such as the immaculate "Experience," which opens with Pete Rock-type muted horns before really hitting its stride with a perfectly-placed piano sample-the songs end up sounding gloriously alien and entirely wonderful, much the same way as the Reprazent crew has reconfigured hip-hop into something propulsive and exciting and continental that avoids the cliches of the form even while still retaining its core sense of purpose. Touche's production hits so many highs that it's impossible to take the music, with its emphasis on '60s and '70s funk and soul as well as old school hip-hop, for granted. The album is so packed full of great and fun sounds that it can be utilized either as dancefloor juice or a headphone soundtrack with equally compelling results. As for its place in hip-hop, it may not exactly be the antidote, but an antidote it is, indeed. ~ Stanton Swihart, All Music Guide [-] Hide

The former Dust Brothers make oblique reference to litigation averted on their debut full-length. The Chemical Brothers' sound is big on bombast, replete with screeching guitar samples and lots of sirens and screaming divas. A breakthrough album of sorts, Exit Planet Dust was, upon its release, one of the few European post-techno albums to make... [+] Read More

The former Dust Brothers make oblique reference to litigation averted on their debut full-length. The Chemical Brothers' sound is big on bombast, replete with screeching guitar samples and lots of sirens and screaming divas. A breakthrough album of sorts, Exit Planet Dust was, upon its release, one of the few European post-techno albums to make any sort of headway into the stateside market. ~ Sean Cooper, All Music Guide [-] Hide