Wobble House

Jah Wobble had already explored 'Islamic funk' with his Invaders of the Heart band but here got down with some weird amalgam of Eurobeat hooked to Afro-funk of the Talking Heads kind. Snake Charmer is a mini LP and result from a collaboration between Jah Wobble, best known as Public Image Limited bass-player, U2 guitarist The Edge and German experimental krautrocker and Can member Holger Czukay produced by a forefather of the house music, the New York Studio 54 DJ François Kevorkian. Others who dropped in during the recording of the 'Snake Charmer' mini-album were Can's Jaki Liebezeit, jazz-funk singer Marcella Allen and guitarist Animal.

25th anniversary reissue of this unique coming together of Brian Eno and ex-Public Image Limited bass player Jah Wobble, also featuring Jaki Liebezeit from Can on drums. Starting life as the soundtrack to Derek Jarman’s 'Glitterbug', Eno passed stereo mixes of the film cues to Wobble who embellished and built upon them to construct the 'Spinner' tracks. The resulting fusion combines icy ambience with a kind of psychogeographical funk.

The act with the first arena-sized sound in the electronica movement, the Chemical Brothers united such varying influences as Public Enemy, Cabaret Voltaire, and My Bloody Valentine to create a dance-rock-rap fusion which rivaled the best old-school DJs on their own terms – keeping a crowd of people on the floor by working through any number of groove-oriented styles featuring unmissable samples, from familiar guitar riffs to vocal tags to various sound effects. And when the duo (Tom Rowlands and Ed Simons) decided to supplement their DJ careers by turning their bedrooms into recording studios, they pioneered a style of music (later termed big beat) remarkable for its lack of energy loss from the dancefloor to the radio. Chemical Brothers albums were less collections of songs and more hour-long journeys, chock-full of deep bomb-studded beats, percussive breakdowns, and effects borrowed from a host of sources. All in all, the duo proved one of the few exceptions to the rule that intelligent dance music could never be bombastic or truly satisfying to the seasoned rock fan; it's hardly surprising that they were one of the few dance acts to enjoy simultaneous success in the British/American mainstream and in critical quarters.