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SQUAREPUSHER

Jazz Rock/Fusion • United Kingdom


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Squarepusher picture
Squarepusher biography
The son of a jazz drummer, Tom "Squarepusher" Jenkinson followed in his fathers footsteps, playing bass and drums in high school. Introduced to electronic music through experimental electro-techno artists such as LFO and Carl Craig, Jenkinson soon began assembling the rolls of disparate influence into amalgams of breakbeat techno and post-bop avant-garde and progressive jazz. A self-taught expert-level bass guitar player and drummer, his style of extremely fast, cut-up beats mixed with fusion jazz and interlaced with synth lines and samples has gained him a cult following.

Squarepusher has long distinguished himself as one of Britain's leading pop avant-gardists. Warp Records, the label that releases his work, is also home to Aphex Twin and Autechre - and along with those two acts he has played a significant role defining contemporary electronic music. Often being classified as drum and bass with a strong jazz influence star musician, Jenkinson samples his own playing for his tracks. He performs live, playing with a fretless or fretted bass guitar, a laptop, and other hardware as well.

Squarepusher, one of the acts that helped cement Warp's fame as a leading label in the field of innovative electronic music, but he has never hidden his education as a classically trained musician. Previous Squarepusher shows have regularly seen Tom Jenkinson pick up his instrument to deliver some heavy funk grounding to his completely over-the-top broken beats assualt. But up until the Hendrix tribute concert in 2006, he has always seen this as part of the Squarepusher show, as a further element to spice up the already eclectic style mix. Things took a further turn in July 2007 with Jenkinson's live collaboration with Evan Parker, extraordinary saxophonist, free jazz icon and a purveyor of group improvisation as a superior compositional technique. Their joint gig at London's "Queen Elizabeth Hall" was "an eye-opening performance and a great contrast to usual indie attitudes towards musicianship".


Slava (Snobb)

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Vic AcidVic Acid
Single
Warp 1997
$4.97 (used)
Music Is Rotted One NoteMusic Is Rotted One Note
Nothing Records 1998
$33.24
$2.99 (used)
Hard Normal DaddyHard Normal Daddy
Reissued
Warp Records 2008
$9.34
$2.65 (used)
Damogen FuriesDamogen Furies
Warp Records 2015
$9.82
$2.98 (used)
UfabulumUfabulum
Warp Records 2012
$6.51
$3.58 (used)
Feed Me Weird ThingsFeed Me Weird Things
rephlex
$217.20
$9.46 (used)
Hello EverythingHello Everything
Warp Records 2008
$8.81
$8.98 (used)
UltravisitorUltravisitor
Warp Records 2008
$7.66
$1.67 (used)
Just a SouvenirJust a Souvenir
Warp Records 2008
$9.25
$2.98 (used)
Numbers LucentNumbers Lucent
Single
MSI:WARP 2009
$15.12
$7.56 (used)
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21h 28m
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Aphex Twin - Live In Denver 1997 CD (Warp, Luke Vibert, Squarepusher etc) USD $3.88 [2 bids]
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SQUAREPUSHER Go Plastic CD ALBUM Tom Jenkinson CHAOS A.D. The Duke of Harringay USD $3.02 [0 bids]
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Maximum Priest [EP] by Squarepusher (Tom Jenkinson) (CD, Jul-1999, Nothing... USD $0.99 [0 bids]
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SquarePusher Go Plastic 2001 Warp Records WARPCD85 Dance Electronica Techno USD $9.92 Buy It Now 2 days
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SquarePusher Music Is Rotted One Note 1998 Warp Records Dance Electronica Techno USD $8.92 Buy It Now 2 days
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Music Is Rotted One Note by Squarepusher (Tom Jenkinson) (CD, Oct-1998, Nothing USD $31.76 Buy It Now 3 days
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SQUAREPUSHER - MUSIC IS ROTTED ONE NOTE - WARP RECORDS CD - 1998 - JAZZ FUSION USD $8.82 Buy It Now 4 days
SQUAREPUSHER - BIG LOADA - WARP RECORDS LABEL EP CD - 1997 - IDM DRILL 'N' BASS USD $8.82 Buy It Now 4 days
My Red Hot Car [Single] by Squarepusher (CD, Feb-2008, Warp) USD $2.90 Buy It Now 4 days
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Ultravisitor by SQUAREPUSHER USD $5.60 Buy It Now 4 days
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Squarepusher Presents Selection Sixteen CD Warp Tom Jenkinson electronic 1999 USD $8.76 Buy It Now 5 days
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SQUAREPUSHER discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

SQUAREPUSHER top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.60 | 12 ratings
Feed Me Weird Things
1996
3.39 | 14 ratings
Hard Normal Daddy
1997
3.00 | 6 ratings
Music Is Rotted One Note
1998
2.75 | 4 ratings
Selection Sixteen
1999
3.86 | 7 ratings
Go Plastic
2001
3.50 | 2 ratings
Do You Know Squarepusher
2002
3.40 | 5 ratings
Ultravisitor
2004
4.56 | 7 ratings
Hello Everything
2006
3.53 | 7 ratings
Just A Souvenir
2008
3.00 | 1 ratings
Solo Electric Bass 1
2009
3.04 | 4 ratings
Shobaleader One: d'Demonstrator
2010
3.00 | 2 ratings
Ufabulum
2012
3.00 | 4 ratings
Damogen Furies
2015

SQUAREPUSHER Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

SQUAREPUSHER Videos (DVD, Blu-ray, VHS etc)

SQUAREPUSHER Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 1 ratings
Burningn'n Tree
1997
0.00 | 0 ratings
Warp20 (Classics²) Go Plastic / Ultravisitor
2009

SQUAREPUSHER Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

0.00 | 0 ratings
Conumber E:P
1995
3.00 | 1 ratings
Port Rhombus EP
1996
5.00 | 1 ratings
Big Loada
1997
2.05 | 2 ratings
Vic Acid
1997
2.23 | 3 ratings
Budakhan Mindphone
1999
2.00 | 1 ratings
I Am Carnal and I Know That You Approve ( with Richard Thomas)
1999
3.00 | 1 ratings
Square Window
2004
0.00 | 0 ratings
Venus No. 17
2004
3.00 | 1 ratings
Venus No. 17
2004
4.05 | 3 ratings
Numbers Lucent
2009
0.00 | 0 ratings
Cryptic Motion (as Shobaleader One)
2010

SQUAREPUSHER Reviews


Showing last 10 reviews only
 Feed Me Weird Things by SQUAREPUSHER album cover Studio Album, 1996
3.60 | 12 ratings

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Feed Me Weird Things
Squarepusher Jazz Rock/Fusion

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars Before Tom Jenkinson would adopt his better known name as SQUAREPUSHER he would grow up playing Metallica inspired thrash metal before finding a new found interest in the world of house music, hardcore, acid house and techno but along the same timeline he developed a taste for all things jazz and by putting all of the aforementioned together in creative new ways was one of the pioneers of the nascent Intelligent Dance Music (IDM). Ironically the term IDM which insinuates a more intelligent way to dance is actually a form of music that is often not very danceable at all and the goal of the artist is to create a more cerebral effect in the context of electronic dance music. After a few years of getting his feet wet in the world of breakbeats and electronica, SQUAREPUSHER developed his skills as both a musician and a producer and on his debut FEED ME WEIRD THINGS he displays these talents as the sole creative force.

While generally lumped into both jazz-fusion and drum and bass electronica camps, SQUAREPUSHER is a bit more eclectic and hard to pin down and exhibited a restless creativity matched perhaps only by the similar unpredictabilities of Aphex Twin. FEED ME WEIRD THINGS was the culmination of several years of creative sprees and the 12 tracks that made it onto this album were culled from over 50 that were actually made and date from late 1994 to 1995. In December of 95 Jenkinson was offered a five album contract with War Records which is when he dropped out of his degree program at Chelsea Art College and officially took on the SQUAREPUSHER role to forge bravely into the world of jazz infused electronica where he has remained ever since.

FEED ME WEIRD THINGS is a smorgasbord of differing forms of eclectic sound streams and follows a nonlinear path through various stylistic approaches. While the jazz tag gets used too liberally for SQUAREPUSHER's works, it is by no means incorporated into every track. While the beginning "Squarepusher Theme" indeed starts off as a veritable salute to the great bop bassist jazz cats of the past and continues on throughout the album sporadically on tracks like "The Swifty", "Windscale 2", and "Kodack"and more often than not usually as a contrast to the hyper grooves of the drill and bass percussion session and then only limited to the bass parts, there are just as many moments dedicated to atmospheric passages that provide darkened mood settings that border on horror flick as well as industrial noise such as on "Dimotane Co" which provides a bleakness rarely embarked upon except in small doses.

As the jazzy touches provide the angularities for the twisted melodies (where they exist,) FEED ME WEIRD THINGS is clearly dominated by the heavy electronic fast beats known as drum and bass which is a style of electronic dance music that has big fat quicker percussive drives and heavy bass lines and a derivative style of the greater IDM umbrella term. SQUAREPUSHER also pushes more than squares as he ramps it all up with the even more challenging cousin style called drill and bass which is a rhythmically challenging subgenre of IDM that dishes out intricate and speedy drum patterns derived from drum and bass but engaging in more complex time signature deviations and an incessant desire to provide the most startling weirdness possibly in the context of a relentless groove. While the jazz parts are optional and occasional, the drill and bass rhythms are the entire backbone of SQUAREPUSHER's nu jazz ethos.

Occasionally on the short tracks like "Smedley's Medley" the jazz along with the drill and bass are equal partners on the dance floor. The jazz grooved bass is accompanied by a veritable freakout of percussive drive and weird electronic noises that even includes a goat however one of the most distinct tracks has to be "Theme From Ernest Borgnine" which begins with a Berlin School style of progressive electronic not unlike Tangerine Dream before erupting into a stamped of digital drill and bass freneticism that stays on hyperdrive while the main introductory chilled melodies continue to cyclically loop and build atmospheric intensity and ends in an energetic climax unlike anything else on the album. The track is also a testament to SQUAREPUSHER's master in the producer's seat. The contrasting sounds on this album never compete to be heard but somehow exist in each other's shadow's as if a tapestry of two timelines has momentary intertwined.

What should prove to be a disaster of an unthinkable magnitude is channeled into one of the coolest 90s electronica albums that emerged in the relentless pursuit of more intricately designed sounds that would take the masses off of the dance floor and into the cerebral labyrinth of the mind. With a mix of atmospherics that wouldn't sound out of place on Aphex Twin's "Selected Ambient Works, Vol 1" along with jazzy chord progressions and bass workouts that commingle with highly energetic electronic freakery and drill and bass bombast, SQUAREPUSHER created a dynamic set of mysterious sounding weirdness that more than lives up to the title's intent. While sometimes rooted in the angularities of avant-garde jazz and at others within the more funky danceable realms, FEED ME WEIRD THINGS keeps it all flowing along in an interesting way by alternating the frenetic speedy madness with the more contemplative slower chill out sessions. Perhaps the album is a bit long at 66:38 and could've used a track or two cut from its lengthy sprawl but overall this in an intriguing album.

 Venus No. 17 by SQUAREPUSHER album cover Singles/EPs/Fan Club/Promo, 2004
3.00 | 1 ratings

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Venus No. 17
Squarepusher Jazz Rock/Fusion

Review by TCat
Collaborator Eclectic Team

— First review of this album —
3 stars This is a 12 inch single of the track "Venus No. 17" which comes originally from the 3" mini disc that came with pre-orders of the album "Ultravisitor". So, in both cases, it was only released on limited releases. There are 2 other tracks in addition to this, and acid mix of the same song and a track called Tundra 4, a 12 minute reworking of the 2nd track from his first full album "Feed Me Weird Things". Quite honestly, this is the only recording I have heard from this artist, and reading that he is quite well talented with drums, bass and guitar, that he comes from a talented family, that he gained an interest in electronic music on top of his instrumental training, and that his music is considered a type of avant-jazz made me interested. So, when I found this 12" single in a used store, I thought I wouldn't be out too much in money or time to at least try it all out.

"Venus 17" is all about electronic music and percussion, heavy on the percussion and crazy electronic sounds. Somehow, he turns this all into an interesting musical and electronic journey. As it continues, more percussion is added, layers and layers of it, and on top of this, noise loops and a nice vibe-like melody create a very interesting and fast paced piece of art. Jazz sensibilities are carried in the way the melody interacts with the other sounds that go on. Almost psychedelic and similar to "Aphex Twin" except with much more "thickness" and less melodic.

"Venus 17 (Acid Mix)" is a reworking of the previous track, but with a lot more noise and less melody. This mix is much too busy for my taste, but there are places where the beat breaks down for short spans to at least let you come up for air. The melody only becomes apparent towards the end of the track and then you really have to listen for it.

As I said earlier, the remaining track is "Tundra 4", a much longer reworking of "Tundra" from the debut album. It starts out quite subdued and ambient and even though the rhythm starts up soon after the beginning, it stays soft for a while. This one has more of a funk vibe as it gets going, and as it builds, more electronic noises and percussion keeps getting added. The melody, driven by sustained keyboard chords, gives you a feeling of passing time, and sticks out more when the percussion quiets down later. Electronic notes and sounds continue, though the percussion drops back in the mix for a while. Things become quite chaotic around the 5 minute mark. Then, about a minute later, everything drops off except for the keyboard chords and the music returns to ambience. The keyboards take on an organ tone. Things feel cold and expansive at this point. As you lose yourself in the spaciousness of the music, suddenly at 9:25, electronic tones start up again, and builds with percussion coming back in. Things stay on the sane side of chaotic this time at least until 11:30, then it gets nuts again, but this time the keyboards is right there at the forefront with everything else as it gets quite intense before it all ends.

This little taste of Squarepusher only makes me more curious, and I should have known that would happen. I didn't care for the Acid Mix, but everything else was interesting, and I understand that it is hard to really know what his other albums might sound like based on only a few tracks. So, yes I will try out other releases, but as for this recording, at least it is good enough to not turn me off to the sound altogether.

 Shobaleader One: d'Demonstrator by SQUAREPUSHER album cover Studio Album, 2010
3.04 | 4 ratings

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Shobaleader One: d'Demonstrator
Squarepusher Jazz Rock/Fusion

Review by Easy Money
Special Collaborator Honorary Collaborator / Retired Admin

3 stars Its hard to know what to expect from Tom Jenkinson (AKA Squarepusher) these days. Once the leader of the jazzy/progressive end of the drumnbass genre, Jenkinson dabbled with odd electronic pop and rock on 2008's "Just a Souviner" only to return to classic DnB on the follow up, "Numbers Lucent". On his most recent release, "Shaboleader One - D'Demonstrator", Tom returns to the electronic pop, only this time with nary a trace of his roots in jungle and drumnbass. Even to long time fans of modern electronic music, this is an odd one. Basically these are well crafted pop songs with hints of artsy 80s new wave and neo-prog rock played with purposefully plastic sounds, an 80s sounding drum machine and plenty of vocoder vocals. If you can imagine an unlikely mix of video game soundtracks, post-70s Stevie Wonder, 80s Genesis, Tears for Fears, Japanese anima, Seal and current electro-popsters Tobacco/Black Moth Super Rainbow, you might have some kind of idea what this sounds like.

You have to hand it to Jenkinson for being able to move past mash it up extreme slice and dice drum programming into actual song writing, and he proves he is actually one of the best writers out there, but the sound of this album is going to be really hard for a lot of people to get past. There is no doubt that Tom wants this music to sound very artificial in an almost kitsch sort of way; the drum machine is retro, the guitar samples sound like the earliest days of digital technology and the vocoder vocals are present on almost every tune. Although most of the music on here could be labeled as some sort of future pop, on "Cryptic Motion" Jenkinson's restless exploratory side comes through with an odd mix of plastic tech thrash metal topped with heavy gothic keyboards. Also, "Maximum Planck" is cartoony speed metal topped with string synths, a perfect soundtrack for some high speed video game for the modern attention span deficit crowd.

This is an odd one, the plastic sounds are not for everybody, but there is no doubting the excellent craftsmanship and songwriting.

 Just A Souvenir by SQUAREPUSHER album cover Studio Album, 2008
3.53 | 7 ratings

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Just A Souvenir
Squarepusher Jazz Rock/Fusion

Review by Easy Money
Special Collaborator Honorary Collaborator / Retired Admin

4 stars Although Tom Jenkinson (AKA Squarepusher) is well versed in both jazz fusion and drumnbass, by the time the year 2008 has rolled around his restless creative spirit has left behind the confines of those two genres, as well as any other genre known to man. 'Just a Souvenir' uses elements from Jenkinson's past as a jazzy drumnbassist, but also works in a plethora of other genres including disco, progressive rock, metal, computer game soundtracks, punky new wave and Japanese anima soundtracks. All of these musical styles are effortlessly woven together in songs that defy easy categorization and sound like something only Jenkinson could put together.

If there is one unifying factor to all of these songs it is this purposefully cheap and tacky overly digital production that would usually sound annoying, but works surprisingly well on this set of ultra-futuristic pop music. The drums in particular sound thin and plastic on purpose, like an 80s computer game, likewise a lot of the metal guitar work sounds like those early guitar samples that always sounded so obviously fake. All of this plastic sound is part of Jenkinson's grand design for this album and just adds to its exotic appeal. I think there is also a lot of humor at work here, especially when the cheap tacky drums start working out furiously on a thrash beat.

This is an excellent album that defies easy description and also makes a case for Mr Jenkinson as one of the most original and independent musical minds of the new century. Like Sun Ra and Les Baxter from the previous century, Squarepusher fuses elements that most would not dare to combine. If there is ever a genre called drumnbass-progmetal-exotica, this album will be the first.

 Hello Everything by SQUAREPUSHER album cover Studio Album, 2006
4.56 | 7 ratings

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Hello Everything
Squarepusher Jazz Rock/Fusion

Review by iliakis

5 stars Albums like the groundbreaking "hard normal daddy" or "feed me" are the most inovative by this unique artist but I also like a lot thiw one. There are not fast or that complex beats here but there is a more rich and deep orchestration than his previous albums. There is also a highly sence of melody and sometimes a simpler "song form" structure. Try "Hello Meow " or Welcome to Europe"(masterpiece!!!) are good examples. The other thing that i like is the great use of analog and digital synths here! I'm sure that every fan of our 70's synth heroes will like that. The problem in this cd is that there are some ....fillers, tracks that they don't develop somethig tha t good as other tunes. But tunes like Planetarium, Rotate Electrolyte ,Plotinus are GREAT! A great electronica- idm and beyond album for the adventurous minds!!
 Just A Souvenir by SQUAREPUSHER album cover Studio Album, 2008
3.53 | 7 ratings

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Just A Souvenir
Squarepusher Jazz Rock/Fusion

Review by zravkapt
Special Collaborator Post/Math Rock Team

3 stars I'm mainly familiar with the work of Tom Jenkinson(Squarepusher) from the 1990s. This album was a surprise for me. Apart from the odd song here or there, I haven't heard a full album of his since 2001. Just A Souvenir is sort of a concept album about a concert by an imaginary band. This non-existent band must love punk and metal, because there is a lot of it here.

There are a few short songs here with acoustic guitar. A couple of songs with vocoderized vocals. As usual with this guy, he plays everything and samples and manipulates his own playing. "Star Time 2" is disco-fusion. Very upbeat and accesible. Halfway through there is nice keyboards. The beats eventually drop out and there is some lovely keys. "The Coathanger" sounds like a cross between Jaco Pastorius and Daft Punk. Vocoder vocals.

"A Real Woman" is the only song that I had heard previously. This is a punk song with vocoder vocals. It has a poppy chorus. Then jazzy bass after every chorus. "Delta-V" is straight up punk metal. Halfway through it reminds me of Ruins. "Potential Govaner" sounds like its skipping at first. It stops the skipping when the jazzy guitar comes in. Jazzy bass solo. "Planet Gear" is more punk metal. This time there is some keyboards. It gets more funky and jazzy later then goes back to the punk metal part.

"Tensor In Green" is even more punk metal. Also some keyboards. After a minute there is a guitar solo. Another one after 3 minutes. "The Grass Road" is the longest, proggiest and best song on the album. Starts with vibraphone. Goes punk metal with jazzy guitar. Then hardcore punk. Then jazz metal. Then a symphonic prog style guitar. Some nice keyboards follow. Vibraphones again. Back to symph prog guitar. Hardcore punk again. Back to vibraphones. The last minute or so is just ambient sounds. What a song!

"Duotone Moonbeam" is almost trad jazz. "Quadrature" has some beautiful chords. Very accesible and catchy. Lots of synth effects throughout the song. Good live drumming too. Jazz guitar solo. Then classical guitar with classical bass dueting. Back to jazz guitar. Great song. I was pleasantly surprised with this album. Not exactly what I was expecting. Although not extremely proggy by any means, this is a great modern album. 3 stars.

 Numbers Lucent by SQUAREPUSHER album cover Singles/EPs/Fan Club/Promo, 2009
4.05 | 3 ratings

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Numbers Lucent
Squarepusher Jazz Rock/Fusion

Review by Easy Money
Special Collaborator Honorary Collaborator / Retired Admin

4 stars For those unawares, Squarepusher is the name of the ongoing one-man musical project performed by jazz fusion multi-instrumentalist and electronic composer/producer Tom Jenkinson. Tom has formidable skills on both bass and drums which he records and then slices and dices via computer while adding analog-style synthesizer parts. The end result is some of the freshest and most original drumnbass/jungle music I've heard since those styles first emerged in the early 90s.

There isn't anything particularly striking to catch the casual listener on here, probably a lot of people would consider this to be another typical drumnbass affair, but to a long-time fan of this genre this is the first really interesting DnB record I've heard in almost a decade. Although Jenkinson is often known for his radical drill-n-bass approach with surreal tempos and machine gun drum rolls, on the first four songs of this EP he keeps things fairly natural with mostly real drums played back at their original recorded speed. I think that is the main appeal of this album, this is some of the most human and natural sounding DnB I have ever encountered, the overall sound is like a very futuristic synth led progressive pop-jazz combo. On the last two cuts he breaks out the hyper tempos and insanely creative sampling that are often his trademark.

For some reason some of the songs on here remind me of the old synthesizer exotica rock- jazz classic Tank, by ELP. The overall pleasantly kitsch effect is similar, ..'Welcome to the Future'. Although I had expected this EP to be modern jazz fusion with DnB beats, Tom instead shoots for a pure drumnbass/jungle ascetic, but does so with far more musicality than most.

 Feed Me Weird Things by SQUAREPUSHER album cover Studio Album, 1996
3.60 | 12 ratings

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Feed Me Weird Things
Squarepusher Jazz Rock/Fusion

Review by zravkapt
Special Collaborator Post/Math Rock Team

3 stars Tom Jenkinson is the one-man-band that is Squarepusher. I was surprised to see him added to PA. But what the hell...I get to review his albums now! This was his first full-length album but he had 1 or 2 EPs before this. This was released on the Rephlex label owned by Richard D. James(aka Aphex Twin). Jenkinson actually influenced RDJ. Probably the reason the former got signed to Warp. Squarepusher pushed Aphex Twin into crazy breakbeat territory; previosly Aphex was known as one of the pioneers of ambient techno.

This was my favourite Squarepusher album. Hard Normal Daddy is usually regarded as his best. Music Is Rotted One Note is his most fusionesque album(although I admit I've haven't kept up to date with Jenkinson since about 2002). Tom is a multi-instrumentalist who samples his own playing. On this instrumental album you get both programmed and "real" drums, keyboards and bass. The bass is mostly fretless and there is a little guitar too. This will appeal to fusion lovers who are not allergic to Jungle/Drum'n'Bass. Or more correctly, this will appeal to Jungle/Drum'n'Bass lovers who don't mind jazz fusion.

"Squarepusher Theme" begins with some jazzy acoustic guitar. The rest of the song has strong bass playing, synths and breakbeats. "Tundra" is my fave here. Of all the songs on the album it sounds the most like IDM("Intelligent Dance Music"). "The Swifty" sounds like dub reggae at the beginning and end. In between there is some sampled drumming and fusion-y electric piano and bass. "Dimotane Co" and "North Circular" are the most traditional Drum'n'Bass songs here. "Smedley's Medley" starts with jazzy guitar and bass then goes into breakbeats territory. Some weird vocal noises at the end.

"Windscale 2" has a hip-hop beat played on drums before it goes all Jungle. Some spacey synths and a deep bass synth later on. Some good funky bass in this song. "Goodnight Jade" is an ambient piece with no drums or bass. "UFO's Over Leytonstone" sounds like Boards Of Canada. Generally not very proggy but this was groundbreaking stuff in the mid-90s. Some of his other albums might be a better place to start for Fusion fans. Good but not essential. 3 stars.

 Music Is Rotted One Note by SQUAREPUSHER album cover Studio Album, 1998
3.00 | 6 ratings

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Music Is Rotted One Note
Squarepusher Jazz Rock/Fusion

Review by snobb
Special Collaborator Honorary Collaborator

3 stars Second Squarepusher's album on Warp Records (and third at all). On previous album the musician explored jazz-fusion sound ( even if all album still was half-electronics one). There he continues his travel across jazz fusion from modern/electronic point of view.

Almost all album songs are fusion there, with many of electronic sound accessories. Drumming and bass sound are both one of main component of album's music. In many compositions you can hear jazz fusion classics spirit, but performed in the end of the century, with unusual vision and techniques. It's sometimes difficult to believe, but some compositions are full of Miles Davis spirit in them!

Interesting work! Start from "Dust Switch". Not for jazz or jazz-rock purists, though.

 Vic Acid by SQUAREPUSHER album cover Singles/EPs/Fan Club/Promo, 1997
2.05 | 2 ratings

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Vic Acid
Squarepusher Jazz Rock/Fusion

Review by snobb
Special Collaborator Honorary Collaborator

2 stars Warp Records EP with four compositions.

"Vic Acid" song is rhythmic mix of electronic sound, drums and bass over it. Drumming and bass are both very fast and complex, as usual with Squarepusher. "Lone Raver" is even faster. Some voices and screams are added over the sound."Fat Controller" is slower, with "metallic" drumming sound and virtuoso bass line."The Barn" (last composition) is ultra-fast again, with some short oriental melody, added at the very beginning.

Generally, all work is fast, cold, electronic, and openly oriented to d'n'b club culture. Not for jazz fusion lovers.

Thanks to snobb for the artist addition.

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