Squarepusher - Music Is Rotted One Note
NME.COM feature on Squarepusher - Music Is Rotted One Note album including album review, artwork, tracks, listen now, tour dates, discography and more.
Release date: 30 November 1997
That Squarepusher, he's crazy. Mates with Aphex Twin, big bushy beard, splenetic bass guitar workouts - he's got a screw loose, right?...
THAT SQUAREPUSHER, HE'S crazy. Mates with Aphex Twin, big bushy beard, splenetic bass guitar workouts - he's got a screw loose, right? Right ? Poor Tom Jenkinson - for it is he - always the clown, never the contemplative musical genius. But why not? The inklings have been there since day one, and last year's three (that's three ) albums suggested that he'd...
- Sep 9, 1998
Tracklisting click track to read more
- Don't Go Plastic
- Dust Switch
- Curve 1
- 137 (Rinse)
- Parallelogram Bin
- Circular Flexing
- Ill Descent
- My Sound
- Drunken Style
- Theme From Vertical Hold
- Shin Triad
- Step 1
- Last Ap Roach
Feels a bit cold, clinical and repetitive
- May 15, 2012
Honestly, this is amazing. It makes everything else shit. That's why it's Single Of The Week, then...
- Dec 4, 2001
Audacious sounds from hardcore guv'nor
- Jun 21, 2001
Peaches is also on the bill for the month-long Southbank event
New track is available to preview online now
It's his first performance since last year's surprise Glastonbury set...
Squarepusher - Music Is Rotted One Note: Wikipedia Album Entry
Music Is Rotted One Note is Squarepusher's third LP, released on Oct. 12 1998 by both Nothing and Warp Records. It is an avant-garde, highly experimental album full of contemporary techniques for sound production, with its songs leaning more toward jams and improvisational playing rather than "track" style dance arrangements; as such, some listeners call this Squarepusher's "jazz" or "fusion" album. On its face, the album could be labeled that so-called jazz way in part, but ultimately it's better described as a great presentation of the effect of contemporary production techniques on the outcome of recorded music.
Tom Jenkinson, the man behind the moniker, presents his obvious musical prowess on this record, as he played all the instruments himself. He cooks up some grooves that are at points definitely reminiscent of the Miles Davis sound around "In A Silent Way" - which is probably the reason this album gets lumped into a fusion category so often - but in classic IDM fashion a la contemporaries like Aphex Twin, he'll cut the phrases around almost without warning before the groove sets in by the usual manner. But he doesn't just break listener's expectations of grooves - random pitches will shift, timbres will bend in unconventional ways, samples will pan in and out of the mix at random. These elements give the jazz base that is occasionally there a more random, pastiche feel that keeps this music from being easily contained by pigeonholing attempts and labels. It also gives the album huge replay value; new corners of sound reveal themselves after repeated listens.
This is arguably the most well-received of Squarepusher's records in terms of critical response.
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