squarepusher Squarepusher - Just A Souvenir

YEEESSSS!!!

Holding out hope after being very non impressed with Hello Everything.

i like this track

How time flies! Wasn't too long ago we were waiting for his last one.

Unfortunately I can't listen to this as my internets are on the blink, but this news has made my shite day a great deal better. Hello Everything took me a while to fully appreciate and with any luck this will be even better.

not expecting another Go Plastic though :kiss:

To use the Aphex terms, he sounds like a sheep and not like a shepherd on Delta-V.

I quite like the track, but it IS somebody else's sound.

  triachus said:

if you're wondering if the other tracks are better than delta v...

 

 

haven't you guys heard the bangface 2008 liveset? lots of new tunes there

hookup plz

  analogue wings said:

To use the Aphex terms, he sounds like a sheep and not like a shepherd on Delta-V.

 

I quite like the track, but it IS somebody else's sound.

whose sound?

heres the bangface

http://www.sendspace.com/file/47kml9

  rocky path said:

whose sound?

love this track!!!!!!!

its a good track, pretty generic though. sounds like something he'd just make for fun, not put on his latest album after 2 years.

Also i dont like the sound of his drums.

I wasnt really that impressed with hello everything either, Bubble life & Rotate electrolyte were pretty good though, and the modern bass guitar was ok but sounded like come on my selector.

That funky part at 2:20 is really fucking cool.

I must say.

  Quote

Somewhere in the late '90s, I lost interest in Squarepusher. The openings into his electronic world had become too small and hard for me to enter. There was no jouissance in his music - no joy, seduction, humanity, or narrative. His soundscapes began and ended with the condition of difficulty. And any amount of difficulty that offers no rewards, solutions, development, climax, or narration seems stubborn and mean-spirited. Agreed, a listener should not be lazy, simple- minded, or completely reject difficulty, but give the listener something that will draw him/her in and enlarge the dimensions of his/her soul. Between 1998 and 2007, Squarepusher ignored this plea. Amazingly, his most recent release, Just A Souvenir, is profoundly sensitive to the listener and the lover of innovative post-rock music.

 

Just A Souvenir is not an easy record. But in its most convoluted corners and passages there's always some shimmering pattern or effect that encourages further and deeper exploration. Many of the 14 tracks on the CD are oddly short on electronics (and for the second time, one is a cover. Of an obscure prog rock track). And so if a track is too soft, human, or warm for your expectations (shame on you), it ends before your patience does. But what is gained on the one hand (a brief soothing interlude, or a disturbingly Lightning-Bolt-esque texture, especially for Tom Jenkinson) is lost on the other (some of the most seductive, beautiful, enchanting tracks end too soon). One wants to hear much more of "Aqueduct", "Duotone Moonbeam", and the cover of "Sequitur", the best track on Just A Souvenir. A Yes track so rarely performed that even Wikipedia or the blogosphere doesn't seem to have any data regarding it is rendered a work of robot worship in the tradition of electrofunk in Jenkinson's hands. It thankfully runs for nearly seven minutes. In the end, what you get from Just A Souvenir is a sense of the polymath. To listen to a track is to stand on a world warmed by synthesiser and bass guitar.

Where's that from?

But it does make me look forward to the new album even more.

Now Squarepusher has my attention.

  kaini said:

  Quote

Somewhere in the late '90s, I lost interest in Squarepusher. The openings into his electronic world had become too small and hard for me to enter. There was no jouissance in his music - no joy, seduction, humanity, or narrative. His soundscapes began and ended with the condition of difficulty. And any amount of difficulty that offers no rewards, solutions, development, climax, or narration seems stubborn and mean-spirited. Agreed, a listener should not be lazy, simple- minded, or completely reject difficulty, but give the listener something that will draw him/her in and enlarge the dimensions of his/her soul. Between 1998 and 2007, Squarepusher ignored this plea. Amazingly, his most recent release, Just A Souvenir, is profoundly sensitive to the listener and the lover of innovative post-rock music.

 

Just A Souvenir is not an easy record. But in its most convoluted corners and passages there's always some shimmering pattern or effect that encourages further and deeper exploration. Many of the 14 tracks on the CD are oddly short on electronics (and for the second time, one is a cover. Of an obscure prog rock track). And so if a track is too soft, human, or warm for your expectations (shame on you), it ends before your patience does. But what is gained on the one hand (a brief soothing interlude, or a disturbingly Lightning-Bolt-esque texture, especially for Tom Jenkinson) is lost on the other (some of the most seductive, beautiful, enchanting tracks end too soon). One wants to hear much more of "Aqueduct", "Duotone Moonbeam", and the cover of "Sequitur", the best track on Just A Souvenir. A Yes track so rarely performed that even Wikipedia or the blogosphere doesn't seem to have any data regarding it is rendered a work of robot worship in the tradition of electrofunk in Jenkinson's hands. It thankfully runs for nearly seven minutes. In the end, what you get from Just A Souvenir is a sense of the polymath. To listen to a track is to stand on a world warmed by synthesiser and bass guitar.

FAKE

THERE IS NO YES SONG OF THAT NAME!

  cornelius (aka ben) said:

  kaini said:

  Quote

Somewhere in the late '90s, I lost interest in Squarepusher. The openings into his electronic world had become too small and hard for me to enter. There was no jouissance in his music - no joy, seduction, humanity, or narrative. His soundscapes began and ended with the condition of difficulty. And any amount of difficulty that offers no rewards, solutions, development, climax, or narration seems stubborn and mean-spirited. Agreed, a listener should not be lazy, simple- minded, or completely reject difficulty, but give the listener something that will draw him/her in and enlarge the dimensions of his/her soul. Between 1998 and 2007, Squarepusher ignored this plea. Amazingly, his most recent release, Just A Souvenir, is profoundly sensitive to the listener and the lover of innovative post-rock music.

 

Just A Souvenir is not an easy record. But in its most convoluted corners and passages there's always some shimmering pattern or effect that encourages further and deeper exploration. Many of the 14 tracks on the CD are oddly short on electronics (and for the second time, one is a cover. Of an obscure prog rock track). And so if a track is too soft, human, or warm for your expectations (shame on you), it ends before your patience does. But what is gained on the one hand (a brief soothing interlude, or a disturbingly Lightning-Bolt-esque texture, especially for Tom Jenkinson) is lost on the other (some of the most seductive, beautiful, enchanting tracks end too soon). One wants to hear much more of "Aqueduct", "Duotone Moonbeam", and the cover of "Sequitur", the best track on Just A Souvenir. A Yes track so rarely performed that even Wikipedia or the blogosphere doesn't seem to have any data regarding it is rendered a work of robot worship in the tradition of electrofunk in Jenkinson's hands. It thankfully runs for nearly seven minutes. In the end, what you get from Just A Souvenir is a sense of the polymath. To listen to a track is to stand on a world warmed by synthesiser and bass guitar.

 

 

FAKE

 

 

THERE IS NO YES SONG OF THAT NAME!

i hope you're right that it's fake

becase i want more electronics

  Quote

Just A Souvenir, is profoundly sensitive to the listener and the lover of innovative post-rock music.

what?

if it was post-rock, even for a little bit, the album would have songtitles like "A Real Woman Dreamt She Was The Coathanger Of Our Open Society" or "Yes! Our Sequitur Is Close at Hand! (Part 1 to 3)"

lol

If his new style is really "post-Rock" I will murder someone.

'Open Society' is most likely the track from the Bangface weekender with the vocodered vocals - openning line - society........ you are real you exist, you are sane, you're alive..... yada yada yada.... chorus something etc.

Very much looking forward to the album, I didn't fully enjoy the Bangface set at the time because all I wanted was brainmelting electronics and he had these proggy/post rock/punky(?) tracks, it's a rave, it's Bangface I was expecting full on destruction! However, I can enjoy them now, it's a great set, although not entirely suited to a rave, the electronic tracks are intense, and the rockier ones are great now I have different expectations of them.

I would love to hear his most recent Wang set again, that was full on devastation all the way through, somebody must have made a recording!???

  Quote

Somewhere in the late '90s, I lost interest in Squarepusher. The openings into his electronic world had become too small and hard for me to enter. There was no jouissance in his music - no joy, seduction, humanity, or narrative. His soundscapes began and ended with the condition of difficulty. And any amount of difficulty that offers no rewards, solutions, development, climax, or narration seems stubborn and mean-spirited. Agreed, a listener should not be lazy, simple- minded, or completely reject difficulty, but give the listener something that will draw him/her in and enlarge the dimensions of his/her soul. Between 1998 and 2007, Squarepusher ignored this plea.

I'm all for squarepusher to branch out and try new stuff, i love his bass playing.

I just wish he'd try stuff....like this.

Listen to that slap bass!

"Vierzehn neue Stücke hört man auf dem Nachfolger zu »Hello Everything« (2006); natürlich bewegt sich Jenkinson dabei ganz innerhalb seines eigenen Å’uvres: zackiges Jazz-Besen-Gewische auf Snare und Hihats, eklig verzerrtes Bassgitarre-Spiel, frickelige Synthie-Sounds, Vocoder-Gesang, ein vom Drum&Bass geprägter rhythmischer Unterbau, Referenzen an das Genre des französischen Erotik-Films und Science-Fiction-Comics à la Captain Future. Dabei wahrt Squarepusher die Contenance: lediglich das mit House-Elementen und Hammond-Orgel-Motiven arbeitende, Albumeröffnende Stück »Star Time 2« sowie der teils Freejazz-, teils Hardrock-inspirierte Track »The Glass Road« überschreiten mit fünf bzw. sieben Minuten die Popsong-Länge – abgesehen davon, dass wirklich kein Stück Formatradio-tauglich sein dürfte bzw. dem Bild eines Popsongs entspricht. Das gilt natürlich auch für die vom Noise-Bass angetriebene und mit reichlich Breaks und Beschleunigungen ausgestattete Single »Delta-V«, die man bereits auf WarpSpace streamen kann.

Im Gegenteil: knapp die Hälfte der Stücke bewegen sich zwischen einer und zwei Minuten Läge. Herauszuheben ist dabei das rein akustisch auf der Flamenco-Gitarre gespielte »Yes-Sequitur«. Auch in Titeln wie »Aqueduct«, »Open Society« oder »Fluxgate« findet sich dieses Motiv, hier wurden zusätzlich allerdings Ambient-Klänge und verzerrte Soundpatterns hinzugefügt."

http://www.spex.de/weblog/archives/5369-Sq...rp,-Stream.html

Half of the tracks dont cross the 2min mark?!Maybe the 6 tracks we havent heard in the bangface set.. But what about the second track in the qball set... Yes- Sequitur is a "Every day i love" sequel!Aqueduct open society and fluxgate have flamenco elements as well.

Strange i thought "Open Society" is the vocoder track...

  Quote

" One hears fourteen new pieces on the successor to” Hello Everything “(2006); naturally Jenkinson moves completely thereby within its own Å’uvres: jagged jazz broom Gewi on Snare and Hihats, eklig distorted bass guitar play, frickelige Synthie sounds, Vocoder singing, of the Darum& Bass coined/shaped rhythmic underbody, references at the category of the French Erotik film and Science Fiction Comics à la Captain Future. Squarepusher protects the Contenance: only, the album-opening piece” star time 2 “as well as that working with House elements and Hammond organ motives partly Freejazz, partly hardskirt-inspired TRACK” The Glass Road “exceed with five and/or seven minutes the Popsong length ââ ‚¬â€œ apart from the fact that no piece might be format radio suited really and/or the picture of a Popsongs corresponds. That is valid naturally also for by the Noise bass propelled and the single” delta v “equipped with plentifully BREAK and accelerations, which one can already streamen on WarpSpace. On the contrary: scarcely half of the pieces move between and two minutes would lie. To lift out thereby the” Yes Sequitur “played on the Fleming CO guitar is purely acoustic. Also in titles like” Aqueduct “,” open Society “or” flux gate “is this motive, here additionally however Ambient sounds and distorted Soundpatterns was hinzugefügt."

So.. Startime 2 is the first track in the bangface set thats quiet obvious...

My Prediction is that Planet Gear is the last "new" track on the bangface with the "lightning bolt" megaphone part

The Coathanger would be second track of the set... According to Spex (which should be a reliable source)" a real woman" is the vocoder track (you are epic because your real )

I hope that one of the "flamenco tracks" are studio versions of the relatively short third and fith bass solo track

in his set with evan parker.

The title Duotone Moonbeam maybe refers to the third one of his bass solo tracks, because of the Fugue like composition.