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Alternative & Indie - Released April 28, 1997 | Warp Records

Distinctions The Qobuz Ideal Discography

Alternative & Indie - Released May 14, 2012 | Warp Records

Distinctions 5/6 de Magic

Alternative & Indie - Released April 10, 2020 | Warp Records

Following the release of his album Be Up A Hello in February after releasing practically no new music for five years, Squarepusher was about to go off on a world tour which would have taken him from Japan to the USA and back for a grand finale in London. Now, the English producer has found the perfect way to console himself and his fans during the pandemic with the release of his EP with the rather gloomy but fitting title, Lamental. But it’s only machine-made sounds crying out on the glorious opening number, The Paris Track, followed smoothly by Detroit People Mover with its synths in the style of Boards Of Canada. After an interlude on acoustic guitar, Tom Jenkinson rounds off this EP with MIDI Sans Frontières, a track that was composed in 2016 in response to the referendum on Brexit and is also featured in an organic version without drums. © Smaël Bouaici/Qobuz

Alternative & Indie - Released April 20, 2015 | Warp Records

Squarepusher is one of electronic music's most widely recognized innovators, with a profile as celebrated as Aphex Twin, Autechre, Boards of Canada, or any of his other legendary big-name peers. Though Tom Jenkinson (the mind behind Squarepusher's oeuvre) seemed to arrive with a fully formed signature sound with the icy jungle-informed compositions of his 1996 debut Feed Me Weird Things, he applied his masterful sonic personality to a wide variety of applications as his career moved forward, branching in directions as widely variant as mellow acid jazz, solo funk bass recordings, ambient dub, and even humanly impossible compositional scores played by robots. Damogen Furies finds Jenkinson turning away from his more nuanced or minimally funky material and offering up an album of completely blown-out tones. Nearly everything on the album's eight songs sounds coated in distortion and chaos, though still distinctively Squarepusher at the core. Garbled beats and fuzzy synth tones take the form of highly compositional MIDI-prog on the dizzying "Kontenjaz" and a melodramatic electro-throwback horror movie score on "Baltang Arg." The closest the album comes to pop is a winking mangling of synth pop with opening track "Stor Eiglass," an Aphex Twin-esque slab of IDM that melts into an upbeat melody that sounds borrowed from the Cure and strapped into a getaway car fleeing a bank robbery at 120 mph. This re-appropriation may be a songwriting accident or a knowing move on Jenkinson's part, especially as the song's rhythm deteriorates into madness before coming back together. The album is full of moments that seem designed to confuse, as Jenkinson's flair for healthy doses of nonsense is matched only by his passion for hyperactive musical feats of brilliance. With Damogen Furies, the results of his strange ways lead to moments of slack-jawed befuddlement as much as awestruck astonishment. © Fred Thomas /TiVo

Alternative & Indie - Released June 25, 2001 | Warp Records


Alternative & Indie - Released November 20, 2019 | Warp Records


Alternative & Indie - Released March 8, 2004 | Warp Records


Alternative & Indie - Released April 7, 2014 | Warp Records


Alternative & Indie - Released July 21, 1997 | Warp Records


Alternative & Indie - Released October 12, 1998 | Warp Records


Alternative & Indie - Released October 27, 2008 | Warp Records

From the fevered imagination of Squarepusher's Tom Jenkinson, Just a Souvenir attempts to soundtrack a vivid dream where Jenkinson experienced a live concert like none other. Surprisingly, the album succeeds despite the dream's inclusion of portions where a river appears on-stage (forcing bandmembers to begin kayaking) and all the drums in the Eskimo's drumkit repeatedly changing places with each other. Obviously, the fact that a piece of art springs from a dream isn't very rare, nor is the fact that dreams are usually surreal, but this tale becomes important because it's a key way to describe the sound of the music -- kinetic, hyperactive, quickly changing from one previously unimaginable piece of music-making to another. Of all artists, Jenkinson continues to have one of the most active musical imaginations (another nod to dreaming). Granted, his ideas wouldn't sound half as astonishing if they were slowed to normal speed, but they'd still sound at least half-crazy. Of the entire Squarepusher discography, Just a Souvenir most resembles Hard Normal Daddy with its hyper-speed drums and bass, sounding more and more like a scattered but fascinating Weather Report with each passing minute. Jenkinson's work on electric bass is as good as it's ever been, and when he puts the bass down, he's reaching for all manner of played or programmed equipment to express his ideas. Still sounding like no other artist on the planet -- whether because of talent or intent -- Squarepusher succeeds again with a radical, challenging piece of music. © John Bush /TiVo

Alternative & Indie - Released October 16, 2006 | Warp Records


Alternative & Indie - Released October 18, 2010 | Warp Records


Alternative & Indie - Released September 30, 2002 | Warp Records


Alternative & Indie - Released March 1, 1999 | Warp Records


Alternative & Indie - Released November 8, 1999 | Warp Records

After releasing more than two hours worth of material in less than a year, Tom Jenkinson returned in late 1999 with what looked to be another full LP, comprising 17 tracks and clocking in at 45 minutes. In fact, it's regarded as a "mini-album" and plays the part well. Similar to the 1999 Squarepusher EPs Budakhan Mindphone and Maximum Priest, Selection Sixteen alternates what sounds like outtakes from his last LP (Music Is Rotted One Note) -- that is, short organic fusion cast-offs -- with a set of hard-edged acid tracks, most of which chart the hyperkinetic drum'n'bass programming that fans expect. The album comes off surprisingly well, given both the glut of Squarepusher material in 1999, and the fact that Jenkinson is mixing'n'matching crazed drill'n'bass and more stately jazz-fusion, with little regard for album flow. The highlight here, "Square Rave," takes a little bit from both camps and ends up sounding like Aphex Twin (circa Selected Ambient Works 85-92) if he'd been working with jungle breakbeats. In addition to the 13-track album are four remixes, including one on which Jenkinson recruits his brother Andy for remixing duties. © John Bush /TiVo

Alternative & Indie - Released July 16, 1999 | Warp Records

Maximum Priest, the second lengthy EP to surface in the year after Music Is Rotted One Note, includes four new tracks that chart the same underwater dub/fusion of Squarepusher's previous EP (Budakhan Mindphone), as well as three intriguing remixes by Autechre and Wagon Christ. © Keith Farley /TiVo

Alternative & Indie - Released March 2, 2020 | Warp Records


Alternative & Indie - Released November 10, 1997 | Warp Records

Warp Records was playing catch-up with all the excellent Tom Jenkinson material floating around. Just the previous year the label saw good returns on his Hard Normal Daddy LP, and now it was time to buy the rights to previous tracks released on the Brit jungle boutique label Spymania. The selection here on Burningn'n Tree is crunchy and uneven, but certainly rewarding for collectors losing faith in the hunt for original limited vinyl pressings. As a bonus, Jenkinson throws in three previously unreleased selections; decent while they last, though not especially memorable. The real treats are Spymania's early gems. The disc sprints forward with the 1996 track "Central Line," which seems atypically straightforward with its 4/4 drum lines -- lean and underdeveloped by jungle standards (as well as Jenkinson's), but a perfectly energizing opener. It is tracks like this and "Sarcacid" (also known as "The Duke of Harringay") where he leans on his fantastic bass playing and jazz background, rather than his dizzying programming skills that would bloom on future endeavors. One could argue that here was a time when, perhaps due to equipment limitations, he was more on the musician side of the fence; a man who could play live bass at 240 bpm alongside his hyperactive drum machine, as opposed to the disjointed computer-generated brain chop of Go Plastic or the hazy bong water slosh of Budakhan Mindphone. The compilation here shows Squarepusher in his early days of flight, especially the tracks resurrected from his Conumber EP -- the epic 11-minute title track, plus two barely related versions of "Eviscerate," a wonderful balance of organic sounding jazz, atonal machine loops, and fluid bass playing. Jaco would be proud. The album's second to last track is the sloppy dub abandon of "Toast for Hardy," where Squarepusher's echo chamber effects and distorted mumblings add up to something like a bootleg of Peter Tosh babbling in his sleep. "Sarcacid, Pt. 2" brings the LP to a close, and in quite a satisfying way. Shuffling, open-ended hi-hats do leapfrogs over snare rushes and chromium alloy keyboards -- certainly an example of icy electronica that grooves. This pseudo album is the reason he has several others, albeit more diverse than this collection would suggest. You may not find any jaw droppers here, but no doubt listeners will find reasons to enjoy this organic (though less polished) treasure chest. Thank you, Warp. © Glenn Swan /TiVo

Alternative & Indie - Released May 21, 2001 | Warp Records

"My Red Hot Car" is the closest thing Tom "Squarepusher" Jenkinson has put out that resembles a Top 40 song, if nothing else, because there are lyrics sung along with it. Beyond that, everything we expect from the artist comes true -- jungle rhythms, erratic bass riffs, and jazzy chord progression. The previous two EPs and his 1998 full-length Music Is Rotted One Note seemed to be swimming around in sloppy freeform jazz, only to return to tighter form with the album Selection Sixteen, and further still with this mostly tight single. Track two's "Red Hot Car" remix sounds like Jenkinson simply put the original song into his computer and threw frequent skips and spins on it, making this the weakest of the set. Next comes "Hardcore Obelisk," an entirely vocal wash of sound, right out of the monkey-meets-monolith scene in Kubrick's 2001; a menacing, ominous drone that, in and of itself, is barely interesting. It is only in conjunction with the rest of the EP that the track works as well as it does. Track 4, "I Wish You Obelisk" (presumably a remix), takes us back to the sputtering percussion that Jenkinson does best, heavily garnished with ring-modulated keyboard noise (a sure-fire bet you won't be humming along to this one). What follows is 23 minutes of silence before a final hidden track appears; one that hearkens back to the mid-'70s release from Brian Eno, Music for Films. A meditative piece that proves to be the hidden gem of this versatile taste of things to come. © Ken Tataki /TiVo


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