Since
he first emerged on the music scene, in 1996, Tom Jenkinson
has constantly worked at developing his own style, blending
twisted hardcore drum’n’bass, jazz-fusion and electro
into extremely complex compositions, to the point of inspiring
already established artists such as Richard D. James or Michael
Paradinas. After a year and a half of complete silence, he is
back with his eighth album.
From the first moments of My Red Hot Car, it is clear that this
new Squarepusher album follows in the footsteps of its predecessors.
More than ever, Jenkinson applies his fast-moving syncopated
style over beautiful, simple, melodies, taking Go Plastic to
familiar extremes. Still relying on jazz a lot, he has found
new grounds to explore. My Red Hot Car constantly drifts between
drum’n’bass and two-steps, while hip-hop seems to
make a stronger appearance than in his previous work. But it
is definitely the Pusher’s own trademark hardcore beat
onslaught and massive bass sound that prevails here. As Jenkinson’s
psychotic electronic insertions colonise every track, from the
funk Bonneville Occident to the chaos of Greenways Trajectory
or My Fucking Sound, the moods are set to swing mode. Since
Budakhan Mindphone, Squarepusher has slightly overlooked the
live sound he exposed in the magnificent Music Is Rotted One Note, probably his best and more energetic release to date.
Go Plastic doesn’t alter this an iota. But, perhaps due
to the lack of new material for a while, this album sounds somewhat
fresher and more diverse than its predecessor. It is also Squarepusher’s
hardest, most intense record yet. Melodies are tensed, destructured,
buried under an avalanche of multiple beats and sounds. Despite
the few moments of calm (Metteng Excuske V1.2, The Exploding
Psychology, Tommib, Plaistow Flex Out), most of the tracks are
violent claustrophobic pieces of a much bigger puzzle, which
Jenkinson intentionally move around in an attempt to confuse
his audience.
With this album, Tom Jenkinson demonstrates that he is still
the undisputed master of a genre he single handedly created.
Once again, he is in full control of his mutant machines, leading
them exactly where he wants, as he produces a disturbing, yet
strangely emotional, soundtrack.
4/5 |
