This edition has modified cover artwork, as the prominent Warp Records logo had to be removed. Some Nothing Records versions of Big Loada are actually copies of Budakhan Mindphone that have been incorrectly packaged and labelled. From Wikipedia, the free encyclopedia. Drill 'n' bass  IDM  jungle . Retrieved 12 March In this he follows a precedent set by Frank Zappa , whom Tom claims is "always hovering in the background" for him.
The sleeve artwork was generated from a set of images taken by Tom wandering about Chelmsford town centre. The front cover image is based on a view of the Gasometers situated at Wharf Road, near where he lived as a teenager. The 8-bit graphics reflect Tom's resurgence of interest in old video consoles and home computers at that time.
This location was subsequently used in some of the press shots in the Hello Everything promotional campaign. This particular residence was shown in the Jockey Slut "All Back to Mine" article from that year and it was also where Tom's appearance in the "xxx" documentary was filmed.
Of this era, Tom states that he was "having dreams about the end of the world, alien invasions and catastrophic events almost every night. It was a strange time, quite literally nightmarish. The piece was the first to be recorded of the set and was originally commissioned to be used in a computer game, but Tom decided it was too important to hand over to somebody else's project. The track immediately became a favourite at gigs and was still making appearances as an encore in Tom's run of live shows in This exemplifies a more abstract take on the 8-bit aesthetic, with sounds constructed to deliberately resemble computer game sound effects.
Doing the video led Tom to develop a friendship with Chris Cunningham. This period also saw the release of the "Burning'n Tree" album, which was a compilation of Tom's Spymania releases. The set includes three pieces that were recorded in late during the Feed Me Weird Things sessions that were not originally released on Spymania. Tom started considering new ideas about how to put music together.
At this time Richard D. James introduced Tom to the music of Tod Dockstader , an American composer who had worked extensively in the s, principally realising his compositions by tape editing.
Alongside this Tom was becoming interested in the work of 20th Century composers such as Stockhausen and Ligeti , specifically their electronic and electroacoustic works. After Budakhan Mindphone was completed in May , Tom went to South East Asia for two months, and on this trip acquired a selection of Gamelan instruments. Tom states that he was keen to carry on with the method of making music he had developed making the "abstract jazz" elements of Music Is Rotted One Note.
Tom decided to switch focus slightly and approach the following phase with a less rigorous aesthetic in mind. This is the first record where Tom started using effects processors in such a way that values for the available parameters would all vary as the piece progressed.
This period also produced the "Maximum Priest" e. Tom states that this piece was obliquely inspired by the films " Solaris " and " Stalker " by the Russian director Andrei Tarkovsky. The organ in this piece is triggered directly from an electric bass. Very few live shows happened around this time, although Tom claims he did in fact do quite a few gigs unannounced: Tom did organise two shows for an ephemeral organisation known as the "Squarepusher Ensemble" which amongst others featured Jamie Lidell on vocals, Mick Beck on saxophone and Tom on bass.
The improvisation took place with no guidelines. In March , with the Budakhan Mindphone and "Maximum Priest" sessions wrapped up, Tom found himself in quite changed circumstances. He had made new friends in Sheffield and found himself a regular DJ and punter at various club nights around Sheffield. At this point Tom became quite skilled at tape editing.
Another element that he was keen to bring back was the usage of sampled breakbeats. At this time, Tom was frequenting a Manchester-based club night called "Schizm".
It was run by friends of Sean Booth and Rob Brown from Autechre who themselves had played there on occasion. Early saw Jenkinson consider "radical tactics". He states it became clear that it was high time return to sequencers and leave behind the live-playing approach, which he had adopted since late Around this time, Tom started seeing more of Chris Cunningham. He was also revisiting a lot of the mids drum and bass that had so inspired his early releases.
He describes the set-up for Go Plastic as follows: "It was the next stage in the "liquid effects processing" idea. Not evil though, "evil" music just sounds daft and theatrical to me. I've always had a Frankenstein-thing going on, ever since I was kid when I was playing around with electronics. I love the idea of the set-up having such a complex level of internal activity that it begins to resemble a living being.
That and "Boneville Occident" were two of the earliest pieces from these sessions. The piece "Tommib" was so named after Tom recalls that: "Aphex [Twin] was helping me edit a track for Vic Acid and he named the project 'Tommib' and I always remembered that for some reason. That track was intended for Chris to use, and that project was called "Spectral Musicians. He asked what I was up to and I said something like "I've got 31 bars left to write on this track I'm doing.
I suppose it does sound a bit strange and clinical. After the sessions were completed in December , Tom states he rang Steve Beckett to play him the record: "We hadn't talked since he left Sheffield more than a year before.
I told him to come round and it totally blew his head off. Tom played his first shows in America at this point, one of which was at the Coachella Festival. The plans to collaborate with Chris Cunningham were duly interrupted as well. After taking some time off during the latter part of , Tom set up the studio at his new residence.
It was around this time that Tom started to work with computer based synthesis and signal processing. I was really fond of Rob. Sunday 12 April Monday 13 April Tuesday 14 April Wednesday 15 April Friday 17 April Saturday 18 April Sunday 19 April Monday 20 April Tuesday 21 April Wednesday 22 April Thursday 23 April Friday 24 April Saturday 25 April Sunday 26 April Monday 27 April Tuesday 28 April Wednesday 29 April Thursday 30 April Friday 1 May Saturday 2 May Sunday 3 May Monday 4 May Tuesday 5 May Wednesday 6 May Thursday 7 May Friday 8 May Saturday 9 May Sunday 10 May Monday 11 May Tuesday 12 May Wednesday 13 May Thursday 14 May Friday 15 May Saturday 16 May Sunday 17 May Monday 18 May Tuesday 19 May Wednesday 20 May Thursday 21 May Friday 22 May Saturday 23 May Reply Notify me Helpful.
The album comes with a lot of amen breaks and provides a lot of new ideas for that time. I guess that is what gives off a very "fresh" feeling. I was visiting a friend at MICA in Baltimore, and we were walking through all the different student art studios, and this kid was blasting this album while painting. Hearing this album for the first time was like scuba diving for the first time, or flying in an airplane for the first time After I heard this album, I only wanted to hear music and make music like this.
This album is probably my most significant influence in my musical taste, and I even have the album cover tattooed on my body. View Your Wish List Close. Close View Full Product. Item added to your cart. Download USD 5.Squarepusher is a pseudonym of Chelmsford, Essex, England, electronic musician Tom Jenkinson (b. ), best known for his experimental drum and bass, with a heavy jazz fusion influence. A skilled bassist and multi-instrumentalist, Jenkinson's virtuoso playing is a staple of his music and one of the more obvious affiliations with jazz (although his formal arrangements are often as jazz-derived.