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Yeah, not liking this that much, it's all very samey. Some good tunes but it seems that the software being used these days is making everything sound the same, I don't know, it's like an album made with the same presets on every track? Unbelievable how trancey it sounds as well!

Red in Blue is a lovely track though actually.

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Tom Jenkinson, best known for his work as Squarepusher, has collaborated with renowned organist James McVinnie on All Night Chroma, a collection of eight compositions for organ. Performed by James McVinnie on the fêted 1954 Harrison & Harrison organ at London’s Royal Festival Hall, each of the album’s eight performances was recorded over a single night in 2016. Originally performed as The Secret Life of Organs during a run of live dates in the UK supported by Arts Council England, the compositions were commissioned by No-Nation with PRSF for Music. All Night Chroma arrives on September 27 via Warp. 





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Squarepusher - Be Up A Hello (Warp)

Release Date 31.01.20


Having spent the past few years focussing on his group Shobaleader One, Thomas Jenkinson returns to the fray under his much-loved Squarepusher guise with Be Up A Hello, Jenkinson’s first LP by that name since 2015’s Damogen Furies.


Jenkinson might have been making Squarepusher records for well over two decades now, but on the evidence of Be Up A Hello his enthusiasm for the project remains as strong as ever. Even by the maximalist, ultra-energetic standards of a typical Squarepusher album the first half of Be Up A Hello is notably bright-eyed and bushy-tailed. Tracks fizz with energy here, their breakbeats careering off each other as Jenkinson spins out assertive chords. ‘Oberlove’ and ‘Hitsonu’, the two cuts which kick off the album, are among the most gleeful tunes Squarepusher has ever made, their chord progressions and synth tones practically glowing with positivity.


However, the vibe of Be Up A Hello becomes darker and more fraught as it goes on. The record’s later stages pull from the harsh, abrasive sounds of Damogen Furies. Needling acid basslines and frosty keyboards shift the vibe of Jenkinson’s drum programming here - those breakbeats, previously so ecstatic in nature, suddenly start to sound rather nervy.

Squarepusher’s first LP in four years is another masterclass in breakbeat and leftfield drum ‘n’ bass from the one born Thomas Jenkinson.



Squarepusher - Vortrack (Warp)

Digital: Out now

Physical: 06.12.19


Thomas Jenkinson is feeling mischievous as ever on his new Squarepusher EP Vortrack. Containing the original tune from Jenkinson and a Fracture remix by Squarepusher himself, this is a timely reminder that there are few out there who can match Jenkinson’s production chops.


The Fracture remix of ‘Vortrack’ manages to maintain the idiosyncrasies of the original while hammering it into a more dancefloor-friendly shape. Mind you, this is hardly your typical rave anthem - beginning with a fidgeting rhythm that is constantly being cut up by chunky bass hits, there are points where this mix's restless version touches on breakcore and IDM as much as it does classic jungle.


Rather than haring out of the blocks, ‘Vortrack’ actually reveals itself rather slowly, unfurling over the course of five-and-a-half minutes. It begins in rather disorientating fashion, a lopsided melange of kicks, hi-hats and acid bass that is pitched somewhere between Syro-era Aphex Twin and the discombobulating releases of Bjarki’s bbbbbb label. Rather than coalescing into a more streamlined groove, the track remains in this jittery holding pattern throughout, becoming increasingly agitated as widescreen reverb and choppy breaks are thrown into the mix. By the four-minute mark the centre can no longer hold and ‘Vortrack’ begins to break apart, eventually collapsing into a droning digital scree. It’s strange, it’s mesmerising, and it’s very distinctly Squarepusher.


Squarepusher in a playful mood on the new Vortrack EP.


From the Bleep promo email



Also, this has been updated: https://squarepusher.net/

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