Feed Me Weird Things at 25

Been waiting for this one to drop so I could do a quick rundown. Squarepusher's debut Feed Me Weird Things from 1996 has been given a shiny new re-release for 2021. Like a couple of the DMX Krew albums I've talked about in the past, Feed Me... was previously a Rephlex exclusive which meant it was a little rarer than usual as until now it had never been repressed either. I picked up a second hand copy years ago now, it's interesting to see it come back, I was under the impression that Squarepusher might have felt the same way about it that Autechre do about their early stuff - not really bothered with it as they feel like it doesn't reflect their current sound or style.

Though that's never really been a thing with Squarepusher, who often has wild variation in genres from album to album. Having said that, Feed Me is an interesting curio nonetheless, and an early example of Squarepusher's founding style - one that would go on to inform his more popular works heading into the 00's.

This isn't going to be a super in depth dive (or at least, I'm not planning for it to be one as I type this!), but I thought I'd just mention some of the standout tracks on here. While there are some tracks I could take or leave, it's also home to some of the 'Pusher's finest work, Warp and Squarepusher announced this reissue with one of the strongest ones in Theme From Ernest Borgnine - one of the more conventional Drum & Bass pieces from the album.

But let's talk about the opening of the album for now. The simply titled opening Squarepusher Theme is chock full of bombastic bassy twangs, and the Bass accompaniment is something that would continue throughout Squarepusher's discography to this day. I can't for the life of me remember where I saw/read/heard this so take it with a grain of salt - but I do remember an interview with Squarepusher where he mentioned his early experiments with electronic music were him sitting in front of a computer and playing his bass alongside it. And it's that methodology you can clearly hear on this track: the funky licks and skittering breaks are an obvious sign of the direction he would take on subsequent albums. There's a certain charm to this track that's very refreshing, compared to some IDM out there that is deeply technical and sometimes very dark sounding, Squarepusher Theme sounds like an absolutely blast, and I'm sure it was as fun to make too. It's still a fantastic listen all these years later.



As is so often the case when I write things like that though, it is going to immediately bite back at me in the next paragraph. By comparison Tundra is one of those dark sounding technical tracks I just mentioned, albeit not quite as hard on the tech front - like Theme From Ernest Borgnine this one too errs more on the conventional Drum & Bass side of things. Perhaps not quite as catchy as the boogie of Squarepusher Theme but I still have a lot of love for it, this kind of menacing vibe is one that would get refined on later releases - most obviously with the release of a sequel Tundra 4 many years later. My personal favourite of the tracks that came from this same vibe is I Wish You Could Talk. The melodic breaks here really stand out to me, there's a certain sound to them that comes up again and again on this album and it's gorgeous, there's one specific track I'm going to talk about next that will show this off in a very beautiful fashion.



I say this every time I have an opportunity to bring this track up, but it bears repeating. There are precious few full on ambient pieces in Squarepusher's discography compared to other folks in the IDM sphere, but those few are all spectacular. Goodnight Jade is the one for this album, and it's just excellent. A stark contrast to the frantic technological jitters of North Circular that comes before it on the tracklist - Goodnight Jade shares a lot of DNA with the later ambient track, namely Tommib, they both share this distant hazy quality, which is even more pronounced on Goodnight. 'Pusher's ear for melodies stands out again here, but unlike on Tundra it gets plenty of time to shine here. Just wonderful.



One thing I will say about this album is that it's super varied - that's again something that's carried on through Squarepusher's career. U.F.O.'s Over Leytonstone treats us to yet another darker sounding tune but this time with a 180 in tempo. It perhaps meanders a bit but I still like the sound a whole lot, though I did pick up this album when I was heavy into Trip Hop so that might have coloured my opinion somewhat. I do to this day love the little bit of a cheeky 303 at about 3:30 - and it pains me that it doesn't come in at 3:03 instead. I feel like it could have been sprinkled throughout a bit more actually, considering my praises of the melodic side of this album this track doesn't really have much on that front.



And finally, I thought I'd talk about something from this album that I haven't mentioned before with the two formerly Japan exclusive bonus tracks for the album, but they were released on a vinyl-only EP as well around the time called Squarepusher Plays... as well. I remember not being too hot on them way back when, but they are each fine additions to the album, especially if you're looking for more stuff like Squarepusher Theme. Theme from Goodbye Renaldo starts that way, with some very obvious funk influence that makes it sound like the soundtrack to a 70's car chase - but it ends up gives you the best of both worlds, as by the 2:30 mark those now hallmark keys come into the mix, and by the 3 minute mark the breakbeats have all completely fallen away leaving just those solitary notes. The beats do slide back into the mix in due time, but that extended downtempo break is just right for me - it even comes back towards the end to boot.



Deep Fried Pizza however, is out and out that Drum & Literal Bass that defines this early era of Squarepusher. I can see why this one wasn' included on the album, while it shares that same methodology the acutal sound is quite a bit different from the main body of Feed Me. The Jazz influence that underpins a lot of Squarepusher's work is firmly on display here, and that might be a little much if you've just come for the Drum & Bass style which I can totally understand, there are times where I'm not feeling tunes like this and skip over them. Still, this is a welcome addition regardless - not only becuase it lets you look over and see the progression of ideas over the man's discography, but also becuase now there's a more readily accessible and complete version of the album out there to potentially influence a whole new host of folks.



I've skipped over a fair bit of the album because otherwise this post would get even longer than it already is, it's a great little piece of it's time though that is definitely worth checking out - if you're looking for more in this kind of style I can also recommend Luke Vibert's Drum 'n' Bass For Papa under the Plug alias from around the same time, it too takes that Jazzy D&B style and really runs with it, though Vibert's work on there tends to lean more towards the actual Drum & Bass side of things as you might have guessed from the length of that one I linked. I'm pretty sure it was reissued a while ago so is easier to find, Vibert also resurrected the alias about 9 years ago for another album in the same style that's pretty great too, Feeling So Special was my favourite from that.

And with that, I think that wraps us up for now. A little longer than I would have liked with that unplanned last paragraph and all but that's how it goes these days isn't it? I'll be back soon with more but until then: As always, stay safe and enjoy the music.

-CVF

Poltergeist

In the midst of my healing process, I was sent yet another new piece from Bothan. I explained the sitch and told him I'd post it as soon as I healed a bit. Well here we are. So let's not beat around the bush and get to the meat of the thing shall we? Here's a little slice of October in July for you with the Haunted EP



We open with the suitably spooky title track Haunted, a short little piece that had me wondering for a while whether it had a really subtle sample of The Specials' Ghost Town in it. Still, the suitably ghostly organ-esque opening is a treat, and in keeping with the series of small instrumentals we've seen so far from Bothan.

Speaking of in keeping, the shelf wobbling sound of tunes such as Surface Bends is still here, giving my walls a good old dusting off is Gauntlet. It's crying out for some lyrical accompaniment I reckon, which I suppose is the intention and high praise for any producer out there.

The final tune and highlight for me, Clouded. It had me from the get go, as you all know I'm a real sucker for anything with a smooth sound and the intro has it in spades. That is until after turning it up to get an earful I was almost blown out of my chair. I'm fairly certain it's a crime to have a bassline that deep up against an intro like that. Instrumentation is sparse throughout but it really works in this case, I'm a strong believer in ending releases on a downtempo note, and this ticks that box and then some.

So that about wraps the whole thing up, this EP is also on Spotify for your alternate streaming needs, and if you're looking to throw a couple of quid Bothan's way, you can pick up the EP on Beatport, or iTunes too. Should be back to fairly normal sched as of now, I'll catch y'all soon!


-Claude Van Foxbat

Not So Sad

All over my twitter this morning I have seen the good news that someone has finally picked up a piece of Stenchman's new(ish) alias Philestine for release. I've long been an advocate of this new direction he was taking, especially given the dire state of the dubstep scene as of late. I've posted this one before as part of the Vague EP back in August, and it's still just as sweet.



He's mixing it up in other areas too, his latest offering as Suspicious Stench (a duo with his long-time bud Suspect) is very refreshing to hear, I am absolutely in love with the chill intro track of this EP. That's not to say there's not plenty of harder stuff to get stuck into though, from the get go Head In A Cupboard takes things a bit darker and even flips the tempo up to drum & bass territory around 1:30. The title track also is a highlight, it's the kind of thing I can tell Stench and co just have a good time making, and I have about as good a time listening to.



-Claude Van Foxbat

21

Hello all I am back after my birthday. Didn't do a birthday post this year because I just couldn't find enough stock to put in it. How ever my main man Stench has my back, unintentionally dropping a new Philestine EP on me birthday. Les get stuck in.



It's pretty much all I want from a Philestine EP, there's more of that trademark Oizo-esque wonkiness that I fell in love to begin with, but again with more of a focus on housey productions now he's free from his Stenchman alias. Pretty sure some of these have been up in preview form on his soundcloud before, but now they're out in full. At the minute I am in love with the bouncy bass meets twinkly synths combo on Just Clicked It, collaboration with his long time dubstep pal Suspect also under a new alias.

I'll have to toss him a few quid one day for all the tunes of his I love, Can't at the minute because of the whole turning 21 thing meaning I'm a bit skint but no matter, I'll enjoy the streams for now, and hope you do too!

-Claude Van Foxbat

All About the Bass

One of the biggest things I'm ashamed of is that I haven't been paying close attention to the imprint Night Slugs. I've unfortunately only heard select tracks from label head DJ Bok Bok and the stellar debut album from Kelela. I really need to dive deeper because everything I've heard from this crew has been unbelievable. Take for example this stellar cut from Jam City. The track Aqua  Box from the Waterworx EP is a great introduction to the Night Slugs sound. Huge basslines and distant sirens create a hazy and dense atmosphere.

One of the most curious signings recently was Chicago footwork artist DJ Slugo being signed to Nicolas Jaar's Other People imprint. We discussed the imprint before here on ilictronix and reading that makes this signing even more curious. Where much of Other People was Microhouse, DJ Slugo is all about maximalism. More really is more on his Ghetto House bass behemoths. Taking the best elements of Booty Bass, Detroit Juke and footwork, track I Ain't Yo Baby Daddy was heavy on my rotation this week. An infectious vocal sample *I Ain't Yo Baby Daddy* is somehow both dizzying and dazzling.

Remember when Evian Christ wasn't working with Kanye or making huge trap bangers? Yeah me either until I relistened to his Kings and Them mixtape. Lean sounding MYD is a bonafide hustlers anthem. Even though fuzzy reverb soaked R&B is becoming a parody of itself its nice to hear songs like this that remind you why this style grew so fast in the first place.

evian christ · MYD

Next we have a somewhat rare mix from our good friend ARCA. His work on the new Bjork album and the Sheep Mix he presented at this years HBA fashion show sets this promising producer up for a unforgettable year. This is not the first time he has worked with the framed streetware company though. Back in 2012 he did a mix with Fader for MOMA PS1 and remixed some tracks on a Hood By Air mixtape. This whole mix is stellar but the moneyshot is the remix of Ocean Gang, which features a syrupy chopped sample of Beamer, Benz, or Bently. 

-Adam 

My God, It's Full Of Stench

Hello and welcome to 2015! We got a special dealio for you right now, as you probably already know I am a staunch supporter of all things Stenchman, and when the man said he was gearing up for his traditional Christmas LP I was hyped to say the least. I got my hands on it a little later than expected but oh boy was it worth it. Tracks and words after the art!

Now Stench's annual compilations have been just that, compilations of his tunes. So when he said he was structuring this one like an actual album on twitter I was very interested. And it most definitely works, you don't have to be a complete Stench Stan like me to get an idea of the man's sound with this menacing intro:



For the first full length we get even more of the man's vibe on show. Don't let that chilled vibe in the intro throw you off, this is still a tune from a guy who has tracks with names like Vagitarian Meal and it's not long before that becomes clear. So far the album is living up to it's title, it's wobbled my shelves plenty already.



Another tune that's been on his soundcloud for some time now, When God Puts His Arms Around You is a solid example of why I keep my eye on Stench's output. Not one to fall into the trap of Brostep, alawys keeping it fresh, dark and interesting. Sounds a little bit like the stuff he's making under the Philestine alias at the moment.



Speaking of, there's some awesome stuff under that moniker on here too. I've been dying to get more of the Philestine stuff in my collection and this LP does not disappoint. The tracks are an amazing hybrid of Stench's dubstep and eye for samples mixed with a house vibe and I love every second of it.



And when it comes to tackling new genres I'm loving every little thing Stenchman does. I posted his Hip Hop previews a while back, but aside from a couple on the free EPs and LPs he puts out I don't actually have any. Until now at least. I am loving this instrumental to bits.



Not to say there's no Dubstep on here though, another one I had long forgotten about on the depths of soundcloud gets an official release. My Dubstep Funeral is a suitably somber but solid track that exhibits Stenchman's dub production chops very well indeed.



Going to skip some tracks here otherwise I'll be here all day. Moving into more upbeat territory we have The Lithopede, he's dabbled in Drum & Bass a little before and this tune is anoter installmen of that. The bassy sounds Stench uses gel really well with a faster tempo so it's nice to see a return to the style. Definitely one of the faster tracks on here.



And I'll leave you all with the final track that I think we glimpsed in the Hip Hop Previews I mentioned earlier. Another case of a excellently picked sample for sure, I don't think I've ever heard a hip hop song I'd call unsettling but Stenchman has shown me something surprising once again, and I love it.



So there you have it, another insight into the beautifully twisted world of Stenchman. Do the man a favour and get your mitts on this album when it drops on the 9th of January, it'll be up on his bandcamp for a choose your own price sale, so you can nab it for free if you so desire. He deserves a few quid though for all the free stuff he's given us over the years.

Find more from Stenchman at:
Twitter
Bandcamp
Soundcloud

Revisiting an old friend: Sepalcure

Fate is a bizarre phenomenon. You have those albums where your lukewarm when you first heard them and then overtime life happens and you rediscover and fall in love with the record. This just happened to me with Sepalcure's self titled album. Sepalcure is a super group consisting of Praveen Sharma and Machinedrum and this release is better than anything Machinedrum has put out. (#SHOTSFIRED)

I was never super hot on all the post dub-step especially around 2011. But after spending a lot of time with Jamie XX, James Blake and Mount Kimbie I think I "got it" and was finally ready. Yes this album came out in '11 but its literally the only I can listen to right now, and that's saying something because Death Grips just dropped a surprise album with Bjork. 
Lets go through some of my favorite cuts off the album and revisit this monster of an album. 



This one starts off pretty average, but then around the 2:30 mark that beautiful synth rolls in and just whisks you away. 





A pretty stellar Reggae vibe on this one. The manipulated vocal sample just swirls around with that echo'ed piano, its dizzying but in the best way possible. 






The real meat of the album, one of my favorite beats of all time. Its dark, busy and the production keeps all the intricate layers of track in place so nothing sounds blown out. Once that bottom end comes in, you know this is a special track. The urgency of the beat is what makes it whet my whistle. 



-Adam 

Weekend Tracks

I apologize for the bland title, i couldn't do any better.

i really couldn't

Anyways, these are a small selection of the songs that get sent to us that i liked, i hope you'll enjoy them too.

The melody in the beginning of this loftmind song is amazing, and the drop is spectacular as well.




I disliked the original version of this song, thankfully NPOWA made it into something groovy.





Another remix, this time from MYNGA very smooth track and a nice take on the original.




This song is great, Bebe Panthere  you are great, i will give you all my money                   psyche


 - Earl

Changing Numbers

Happy new year readers! Hope your night is/was more eventful than mine.

 

My 2013 was average.

I figured I should keep the post 2013 themed, but I really am not with the times. So instead, I've decided to write about 3 Australian artists, with two tracks from each. Should be a decent list. First up is Sydney based producer Spoonty.

Spoonty has been producing his own music for roughly 3 or 4 years, "but it didn't start to sound good until about a year ago" he said. Recently he began working more closely with Nicole Millar, with the two having their debut live show coming up soon.



Spoonty's latest work is a 7 track release titled Infinite Bliss. Available as a digital download or one of ten only cassette tapes, the release holds some great potential. I chose my two favourites, K-Dreamer and Mall Goths. Both hold a strange vibe, I can never decide whether to relax to them or to get up and do something.



The first time I heard the initial synth line from Mall Goths, I instantly thought it was going to be a strange remix of the Dire Dire Docks stage music from Super Mario 64. However, I was wrong. The hip hop inspired beat and dreamy synth instantly just melt together, creating a strange mood.

"Mall Goths got its name because I always enjoyed the term mall goth for scene kids who hang out at shopping centers, and when I wrote the track, the spooky but also weird feeling of it seemed to lend its self well to the name"

My next Australian artist is Flume. In November, he released his debut self titled album, and reached #1 on the ARIA charts with this single. Simple, catchy and easily to dance to.



Less simple, but more danceable, the Hermitude remix of Flumes hit is my preferred mix. Largely due to that arpeggiating synth, the small drop at 1:20 put me into thinking I was listening to a remix by Danger.




The last two artists made 2013 releases, but the final artist made his last, and so far, only release two years back, in 2012. Barry Morgan from the World Of Organs in Adelaide's Sunnyside mall made his debut on Australian music quiz show Spicks & Specks back in 2010, and quickly became "one of the most popular performers on Spicks & Specks in 2010" (Adam Hills). A character created by Stephen Teakle, Mr Morgan uses only one instrument, his 1981 Hammond Aurora Classic. The pure character is enough, but the fact is, he really is a great organ player.

  This doesn't count as a song, I just love this video.

When I first got his debut album The Touch of You, I had no idea what to expect. But the first song just amazed me. "He put the boss in Bossa Nova"



One man and a Hammond created this.




Enjoy the tunes, and enjoy the day of recovery that is New Years Day!

-Sulphites

HudMo100

Glaswegian based messy music maker Hudson Mohawke hit 100k likes on Facebook, and was nice enough to throw together a little .rar of edits he's done, including a nice re-imagining of Hell Interface's (aka Boards Of Canada) rework of Midnight Star's Midas Touch. Here's my picks.

Hell Interface x Usher x Midnight Star - Midas Girl (Hudson Mohawke Edit):


RJD2 x Ciara - Go Longer (Hudson Mohawke Edit):


-Claude Van Foxbat