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Squarepusher - Feed Me Weird Things Squarepusher Theme - One of the first tracks I heard from Tom, and I'm very fortunate of that. Very fun and lighthearted song, but complex at the same time. The bass melodies are some of his best, and the percussion is just perfect. This is probably his best opener in his entire discog, what a track. Feed Me Weird Things is his first album which is based on jazzy grooves and intense drum and bass. This was released on Aphex Twin’s Rephlex label which is an odd but fitting choice for a record label. Buy Squarepusher Feed Me Weird Things Mp3 Download. Buy & Download Cheap Mp3 Music Online.
The debut full-length from Squarepusher is quite a jazzy affair, especially for an album appearing on the Aphex Twin's Rephlex label. It's no less experimental than the sonic terrorism employed by the Aphex Twin himself, but Feed Me Weird Things keys on Tom Jenkinson's experience as a bassist. A perfect example is 'Windscale 2,' which begins and ends with a bass/percussion line rooted firmly in funk; the track gradually morphs into a playful but complex jungle cut with more percussion in 30 seconds than any Aphex Twin track (excepting possibly 'Hangable Auto Bulb'). Elsewhere, Jenkinson uses atmospherics and distortion that wouldn't sound out of place on Aphex Twin's Selected Ambient Works, Vol. 1, but the dense jungle percussion makes this a difficult, yet ultimately rewarding album.
That being said, Feed Me Weird Things is probably the best place to start for people with an itching to try Squarepusher. First off, I have to say that Jenkinson makes some of the most detailed and intricate IDM this side of Autechre or Aphex Twin. The sleeve notes of Feed Me Weird Things written by Aphex Twin recall to humorous effect some of the real or imagined occurrences of that evening which marked the beginning of a friendship between him and Tom. The second release on Spymania was under the pseudonym of 'Alroy Road Tracks' and was entitled 'Featuring The Duke of Harringay'. Listen free to Squarepusher – Feed Me Weird Things (Squarepusher Theme, Tundra and more). 12 tracks (66:43). Feed Me Weird Things is the debut studio album by Squarepusher. It was released on Rephlex Records in 1996. Feb 11, 2018 Squarepusher's first full-length, Feed Me Weird Things, is massively jazzy, but it's done right, by which we mean spliced perfectly with breakneck drums and the occasional cartoonish parade, such as the delightful 'Smedley's Melody.'
| Sample | Title/Composer | Performer | Time |
|---|---|---|---|
| 1 | 06:20 | ||
| 2 | 07:55 | ||
| 3 | 05:20 | ||
| 4 | 04:54 | ||
| 5 | 02:33 | ||
| 6 | 06:35 | ||
| 7 | 06:08 | ||
| 8 | 02:45 | ||
| 9 | 07:55 | ||
| 10 | 06:39 | ||
| 11 | 07:14 | ||
| 12 | 02:18 |
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July 30, 1996,Section C, Page11Buy Reprints
July 30, 1996,Section C, Page11Buy Reprints
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Few things in music are more exciting than watching a new sound slowly change from being strange and unfamiliar to euphonious and pleasing. This is what has happened with the dance style drum-and-bass and its more reggae-oriented cousin, jungle, in the last few years as their unique approach to rhythm has attracted an increasingly wide array of artists. Unlike styles of dance music in which the art is in arranging samples over a steady beat, jungle and drum-and-bass (which evolved from the break-beat records that disk jockeys use as rhythmic additives to their mixes) make an art of cutting up, rearranging and accelerating drumbeats, usually over a deep, floor-shaking bass line.
Though jungle music has been on the pop charts in England for two years, it only recently made the charts here, as heard subtly in the background of Everything but the Girl's single 'Wrong.' For those who want to pursue the music, many releases in the last month show the widening range of these styles.
L. T. J. Bukem
Not only is 'L. T. J. Bukem Presents Logical Progression' (FFRR) one of the most beautiful collections of progressive drum-and-bass, but it also makes the most coherent statement. On two CD's, a world of whirring beats, lush electronics and skittering sound effects slowly unfolds as some of the style's most talented disk jockeys and computer programmers -- Mr. Bukem, Photek, Peshay -- concentrate on making music that is rhythmically intricate and soothingly ambient at the same time.
Spring Heel Jack
Spring Heel Jack, the duo responsible for some of the jungle beats on Everything but the Girl's latest album, takes a pastry chef's approach to drum-and-bass, building up the music in fine, delicate layers. On its second album, '68 Million Shades . . .' (Trade 2/Island U.K.), the group, which also performs in the drone-rock band Spiritualized, merges strings and horns that sound as if they come from movie soundtracks with a beat that can fluidly change from a rapid-fire drum-machine roll to a conga rhythm.
Squarepusher
Tom Jenkinson, who records as Squarepusher, is a rarity in electronic dance music. As adept on fretless bass as he is with studio electronics, he deftly combines the laid-back cool of fusion jazz with the frenetic intensity of drum-and-bass on 'Feed Me Weird Things' (Rephlex). As the 12 songs on this CD move from the realm of Karlheinz Stockhausen to that of Jaco Pastorius, Mr. Jenkinson makes one realize just how wide a window of opportunity for musicians drum-and-bass has opened. Another interesting fusion and jungle collision is 'Deeper, Wider, Smoother' (Substance), by James Hardway, with saxophone, flute, drums and bongos jamming over drum machine cutups.
Plug
Feed Me Weird Things Squarepusher Rarity Girl
The sound of 'Drum-'n'-Bass for Papa' (Blue Angel), by Plug (an alias for Luke Vibert, who also records as Wagonchrist), is summed up in the title 'Subtle (In Your Face).' More minimal than the above records, the album focuses on rhythm almost exclusively. Mr. Vibert works not just with the arrangement of beats but also with their texture and timbre, often sending drum machines through a battery of effects, blurring the distinction between rhythm and melody. Also recommended is 'Drum and Space' (Omni) by Calcutta Cyber Cafe, a more atmospheric, crosscultural album by the British-Indian percussionist and producer Talvin Singh.