The Dial-Up Decade #8: The Chemical Brothers, Exit Planet Dust

BY DREW DRAIN

When Exit Planet Dust was released in 1995, The Chemical Brothers (Tom Rowlands and Ed Simons) effectively established themselves as pioneers of the big beat genre. They changed their name in1995 given the preexisting American production duo “The Dust Brothers,” their burgeoning popularity, and the threat of legal action from the originals, which resulted in the name of their debut album being Exit Planet Dust. By blending acid house, hip-hop, rock, and a palpable sense of hedonism, Exit Planet Dust bridged the gap between rave culture and mainstream appeal. Nearly three decades later, it remains a definitive statement of its era and a fascinating artifact of a moment when electronic music was just beginning to redefine itself as a global force.

To fully appreciate Exit Planet Dust, it’s important to consider the musical climate of the early 1990s. The rave scene, once thriving underground, was splintering under government crackdowns like the UK’s Criminal Justice Act of 1994, which targeted electronic dance music played at raves. Police were empowered to stop a rave in the open air when “ten or more people are attending, or where two or more are making preparations for a rave.” The law also allowed police to stop any person they believed was on their way to a rave within a 5-mile radius of the event and force them to leave the area. Meanwhile, Britpop was dominating the charts, and grunge was on the decline. Amid this backdrop, big beat emerged as a rebellious yet accessible sound that combined the frenetic energy of rave culture with rock’s anthemic spirit. Artists like Fatboy Slim, The Prodigy, and The Chemical Brothers turned breakbeats, acid squelches, and chunky basslines into a celebration of raw, unfiltered fun.

Exit Planet Dust arrived at the dawn of this movement, establishing many of the genre’s hallmarks. The Chemical Brothers had already built a reputation for their high-octane DJ sets, and their debut album translated that energy into a cohesive listening experience. Crucially, it didn’t alienate listeners unfamiliar with dance music, thanks to its genre- blurring approach.

The album opens with the propulsive “Leave Home,” a bold declaration of intent. Its bassline is a throbbing invitation to movement, accompanied by distorted vocal samples and relentless beats. This track sets the tone for an album that feels as much like a live DJ set as a studio recording. The sequencing ensures a seamless flow, alternating between high-energy tracks and moments of respite that allow listeners to catch their breath.

One of the album’s standout qualities is its balance between accessibility and experimentation. Tracks like “In Dust We Trust” and “Song to the Siren” feature intricate layering, with acid synths weaving through breakbeats and samples. Yet they never veer into self-indulgence; instead, they remain firmly grounded in rhythm and groove, ensuring their appeal to dance floors and headphones alike.

What sets Exit Planet Dust apart from many of its contemporaries is its fearless incorporation of disparate influences. “Three Little Birdies Down Beats” incorporates dub-inspired rhythms, while “Life Is Sweet” (featuring Tim Burgess of The Charlatans) merges the euphoric sensibilities of indie rock with the repetitive, hypnotic structures of electronic music. This track is emblematic of the album’s hybrid nature, with Burgess’s dreamy vocals floating over a dense, churning instrumental.

Elsewhere, “Chemical Beats” serves as a manifesto for big beat’s aesthetic: heavy, distorted basslines; chaotic yet precise percussion; and an unapologetic sense of fun. It’s a track that epitomizes The Chemical Brothers’ ethos, inviting listeners to lose themselves in its raw energy. Similarly, “Fuck Up Beats” demonstrates their playful side, with chopped-up samples and a slightly anarchic vibe.

Amid the adrenaline, Exit Planet Dust offers moments of introspection and beauty. “Chico’s Groove” stands out as a downtempo interlude, its lush melodies and relaxed tempo offering a brief respite from the album’s relentless pace. Similarly, the closing track, “Alive Alone,” featuring Beth Orton, is a poignant finale. Orton’s ethereal vocals bring a human touch to the album, hinting at the duo’s later forays into more melodic and emotionally resonant territory. This track not only closes the album on a contemplative note but also serves as a reminder of The Chemical Brothers’ versatility.

Exit Planet Dust was groundbreaking in its ability to translate the energy of a live DJ set into a studio album without losing any of its immediacy. The Chemical Brothers’ use of sampling, while not unique, was executed with a level of precision and creativity that set them apart. They avoided the overly polished sheen of commercial dance music, instead embracing a raw, gritty aesthetic that felt authentic to their rave origins.

The album’s influence can be seen across genres. Big beat became a dominant force in the late 1990s, with artists like Fatboy Slim and The Prodigy achieving massive commercial success. Moreover, Exit Planet Dust demonstrated that electronic music could be album-oriented, paving the way for subsequent works by acts like Daft Punk and Orbital. It also blurred the lines between rock and electronic music, a fusion that remains a cornerstone of The Chemical Brothers’ sound.

While Exit Planet Dust is undeniably a landmark album, it’s not without its flaws. Some critics have argued that its reliance on big beat tropes makes it feel repetitive at times. Tracks like “Fuck Up Beats,” while fun, might come across as filler to listeners seeking more depth. Additionally, the album’s production, while innovative for its time, can feel dated compared to the sleek, high-definition soundscapes of modern electronic music.

However, these criticisms are minor when viewed in the context of the album’s historical significance. Its rawness is part of its charm, capturing a moment in time when electronic music was still evolving and defining its identity.

Exit Planet Dust remains a cornerstone of 1990s electronic music and a testament to The Chemical Brothers’ ability to push boundaries while remaining accessible. It captures the energy and spirit of a transitional moment in music, offering a glimpse into a world where rave culture collided with mainstream sensibilities. The album’s fusion of genres, innovative production, and relentless energy ensure its place in the pantheon of great electronic albums.

Nearly 30 years after its release, Exit Planet Dust is more than just a product of its time—it’s a celebration of it. It invites listeners to leave the mundane behind and immerse themselves in a world of pulsating rhythms, distorted basslines, and unrestrained joy. For fans of electronic music, it’s a reminder of the genre’s transformative power. For newcomers, it’s an invitation to discover the origins of a sound that continues to evolve.

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DREW DRAIN

Andrew (Drew) Drain is originally from Point Pleasant, WV, and he now resides in Chapel Hill, NC with his daughter. Drew works as a financial risk management professional to pay the bills, but his real passion is photography. He started taking photos of his daughter playing soccer as a way to resist the urge to coach her from the sidelines. Time behind the camera developed into a love for photography that he has paired with his love for sports and live music. Follow Drew’s Instagram, @Drew.Drain.Photo or his MaxPreps galleries, to check out more of his work or contact him if you need photos of your favorite athlete or performer.

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