In 1997, the Chemical Brothers brought us “Block Rockin’ Beats.” The two words, digital and underground, would mean more than an ’80s defunct rap group.

With the Chemical Brothers’ new album, “Come With Us,” the question posed is, “where are we going to go that we haven’t already been?”

The progression of sound is small. The seven years of Chemical Brothers music we have been exposed to has reaped little fruit.

On its latest poison we receive the venom of synthesizers and digital drum kits. Where did the Chemical Brothers take us? To a house party in 1982 hosted by Tina Yothers. Earlier albums by the dynamic duo mix hip-hop scratches with psychedelic progressiveness, while on “Come With Us,” listeners can’t make it to the dance floor or a level of digital enlightenment.

The style is progressive, but the album is far from that. Those who enjoy bouncing the bass out of their car trunks have the bass-friendly tracks “My Elastic Eye” and “Star Guitar.”

With digital-progressive-dance-trance music, it starts with Moby and then trickles over to Fatboy Slim. The others just become the same group where listeners mix up the Chemical Brothers with Underworld and Crystal Method wondering which did what and which used-CD store will buy it back.

Now is not the time to give the Chemical Brothers a try if you are new to the sound. For those who have followed the duo’s career, the CD probably is a delicious dessert to surrender.

The band has turned out an album at least once every two years for the last eight years, but going by its progress, it could’ve released these albums one month at a time.

“Come With Us” most certainly is from the other side of the tracks. But chances are that you will get hit by a train if you haven’t crossed already.