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Squarepusher - Music Is Rotted One Note mp3 download

Squarepusher - Music Is Rotted One Note mp3 download
Singer: Squarepusher
Title: Music Is Rotted One Note
Released: 1998
Country: UK
Style: Fusion, IDM, Experimental
Genre: Electronic / Jazz
Rating: 4.4
Votes: 902
MP3 size: 1626 mb

Squarepusher - Music Is Rotted One Note mp3 download


Don't Go Plastic
Dust Switch
Curve 1
137 (Rinse)
Parallelogram Bin
Circular Flexing
Ill Descent
My Sound
Drunken Style
Theme From Vertical Hold
Shin Triad
Step 1
Last Ap Roach


Category Artist Title (Format) Label Category Country Year
WARPLP57 Squarepusher Music Is Rotted One Note ‎(LP, Album) Warp Records WARPLP57 UK 1998
WARPCD57 Squarepusher Music Is Rotted One Note ‎(CD, Album) Warp Records WARPCD57 UK 1998
7243 8 466032 1 Squarepusher Music Is Rotted One Note ‎(CD, Album) Source 7243 8 466032 1 Europe 1998
WARPCD57, 678.2057.20 Squarepusher Music Is Rotted One Note ‎(CD, Album) Warp Records, PIAS Benelux WARPCD57, 678.2057.20 Benelux 1998
WARPCD57 Squarepusher Music Is Rotted One Note ‎(CD, Album) Warp Records WARPCD57 UK 1998
AICT 28 Squarepusher Music Is Rotted One Note ‎(CD, Album) SMEJ Associated Records AICT 28 Japan 1998
INTD-90294 Squarepusher Music Is Rotted One Note ‎(CD, Album) Nothing Records INTD-90294 US 1998
RTD 126.3529.2, WARPCD57 Squarepusher Music Is Rotted One Note ‎(CD, Album) Rough Trade, Warp Records RTD 126.3529.2, WARPCD57 Germany 1998
WARP CD 57 P Squarepusher Music Is Rotted One Note ‎(CD, Album, Promo) Warp Records WARP CD 57 P UK 1998
WARPLP57P Squarepusher Music Is Rotted One Note ‎(LP, Album, Promo) Warp Records WARPLP57P UK 1998
NTH-90294 Squarepusher Music Is Rotted One Note ‎(CD, Album, RE) Nothing Records NTH-90294 US Unknown
3188 Squarepusher Music Is Rotted One Note ‎(Cass, Album, Unofficial) Music Land Records 3188 Russia Unknown
WARPLP57 Squarepusher Music Is Rotted One Note ‎(LP, Album, W/Lbl) Warp Records WARPLP57 UK Unknown

Squarepusher - Music Is Rotted One Note mp3 album free

Not what you'd be expecting after 3 years of glitchy drill'n'bass records...Squarepusher does Miles Davis, here. Starting with the sick funk of "Chunk-S", we dive straight into acid jazz territory with "Don't Go Plastic". "Dust Switch", "137(Rinse)", "My Sound", and "Theme from Vertical Hold" all rank up there with the sickest jazz-fusion you'd ever hope to have pass through your headphones. Sick, tight basswork on this album. All of the above tracks feature some insane improv. Even the so-called "filler" tracks hold this record together quite well; and it all ends with quite possibly the most disturbing sounds in music..."Step 1-Last Ap Roach". "Step 1" is the invasion; "Last Ap Roach" is the aftermath(complete with eerie reverb and distant siren sounds; you can feel the post-apocalypse).Miles would be proud, for sure.
The one-man Drum'n'Bass outfit 'Squarepusher' aka Tom Jenkinson treads upon more unpredictable terrain on 'Music Is Rotted One Note'. Although the album still contains elements of his usual Drum'n'Bass sound, this is by and large is a jazz/fusion affair.Jenkinson does a great job playing all the instruments live and by himself, and perfectly re-creates the funky atmosphere of such early-'70s Miles Davis classics as Get Up With It and On the Corner. Jenkinson's performances throughout the vinyl are both flawless and inspired -- he obviously realized that if he were to pay tribute to Miles, nothing but the best would do. Davis' spirit lives on in such tracks as "Don't Go Plastic," "Dust Switch," "137 (Rinse)," and "Theme From Vertical Hold," while "My Sound" perfectly captures the essence of Miles' calming and reflective compositions. But don't be misled; this is not a by-the-numbers rip-off of Miles Davis. Jenkinson updates these familiar sounds with '90s recording techniques and injects enough of his own style into the mix to keep it recognizable. Miles would be proud.
This happened to be my first foray into the world of Squarepusher... Odd introduction since it is not representative of what he is known for. I’d read an article back in ’99 in a local newspaper about a new “folk” drum & bass album with Miles Davis Bitches Brew-era stylings—an album wherein the artist chose to perform all his material live, without any sequencing. Within the drum & bass community, it was unheard of to actually perform on real instruments. Even if a musician did play their own instruments, the material would be sampled and spliced into breaks—a practice of sampling one’s self. Liz Copeland, the author of this article, commented, “It’s an idea that probably seems as blasphemous to drum ‘n’ bass gurus as to the folk community when Bob Dylan first picked up his electric guitar”. This article sparked my interest and influenced me to check it out, but at the same time, was misleading because, to my disappointment, this really didn’t sound like drum & bass at all. Let me just say you will not find any breakbeats or really any reference to his rave culture roots here. This album is pure, raw musical expression existing mainly in the avant-garde jazz idiom. Initially, I assumed these pieces to lack form, devoid of any true melodies that could be followed or enjoyed. And it took me a few years to understand the early experimental electronic music references (I had not been exposed to this type of music yet). But now! This album, for me, is pure genius and easily his best album in terms of replayability (is that a word?). Each song is like an impressionistic sound-painting, evoking peculiar moods by using odd floating chords, strange watery atmospherics, obscured cryptic voices, and whatever other kinds of indefinable sounds he is able to conjure up. Most of the tracks are seemingly through-composed with free-jazz elements. Others have more in common with the output of academic tape music centers in the 1950’s. Time signatures are vague or non-existent, but still are enjoyable and easy to follow. This reminds me of a description of Tony Williams’ playing on Eric Dolphy’s album Out to Lunch. Of Williams, Dolphy says, “He doesn’t play time, he plays. Even though the rhythm section breaks the time up, there’s a basic pulse coming from inside the tune.” This can also be said of Squarepusher on this album: he plays what he feels. Of the stand-out tracks, “My Sound” is probably the first great song you will latch onto, which seems to have more in common with the “post-rock” sound than the jazz-funk of the rest of the album. Beautiful electric piano motif with backing elements that build into a musical dreamscape. Right up there with “Iambic 9 Poetry”. But there are other less obvious favorites. Particularly “Circular Flexing” which gives the sense of an endless descent into the unknown. It reminds me of the Alice In Wonderland scene, falling down into that hole in slow-motion as Alice enters a new and strange world of imagination. “Shin Triad” is an interesting triptych of sound-ideas that would be welcome as a 10-minute excursion, but unfortunately ends up being rather short. “Last Ap Roach” is a horrific dirge with air-raid sirens that give me flashbacks of playing Silent Hill on the old Playstation. There are plenty of others, but you would just have to hear them. Descriptively, they are hard to pin down, other than saying they are jazzy. Currently, having heard most of the Squarepusher catalogue, I would have to say there is no other album of his that captures the spontaneity and emotion this one does. Not to discredit his other works. There are other very far-out and mind-blowing “drill & bass” (I hate that label) pieces on other albums, but the intricate programming of machines takes time. Whereas here, he is just in the moment—a form of creativity you cannot capture with sequencing.
Probably Squarepusher's most underrated release. Music Is Rotted One Note is simply genius. Since the unbeatable Hard Normal Daddy, people were only expecting another experimental drum n' bass release. As some people said, the album sounds really similar to Miles Davis' Bitches Brew. I really love that album and I can feel there are some aspects influenced by the classic from 1969. Thomas Jenkinson has to be the artist that makes the best opening tracks on each of his albums! Chunk-S brings you in a genius jazz fusion world and can't get you out of it. That album required me a few listens before fully enjoying it so don't judge it on first listen, people! Squarepusher shoulds direct a jazz band or something because he has talent! That release is probably Squarepusher's work with the most different concept with Ultravisitor and makes him diversifying his music. The IDM interludes shows us he has still kept some electronic influences and I find it perfect like this. If you're opened to jazz fusion, this is a worth checking album!
This album is testimony to this man's genius. There is no other album I know of that showcases one man's ability so well in BOTH technical ability as a player and awareness, and mastery as a producer. The sampling of the drums, the snares and rides particularly, is awe inspiring; crisp, clear and powerful, as well as subtle and intricate. The virtuosity on the bass is able to rival even Jaco (his Hard Normal Daddy album is an equal showcase of this, although i believe the ambience of this album works better to show it off). A lazy reviewer could well make a statement along the lines of, "Bitches Brew on acid", and although trite, it would at least be a reasonable supposition as to how that would sound. This is however no idle tribute (and certainly no novelty piece), it picks up where that left off in musicianship and atmosphere, but it adds such amazing character unique to Mr. Jenkinson. I couldn't comment on his losing the ability to control basic functions, but i would imagine Miles would be astounded (pleasantly i'm sure) to see how his vision had been carried on. This to me is the Pusher's masterwork (to date). Nothing of his leaves me cold, although i am not always a fan of his seemingly more (aurally) sadistic works. Rotted however always captivates and inspires me. I hope this album puts people who are into Warp's output onto the fusion greats of the Seventies, as i know anyone well acquainted with Bitches Brew would be pleasantly surprised on hearing this for the first time.
I really enjoy this album because in the context of Squarepusher's music release career, it's very contrarian to what Squarepusher listeners expect (hence the rhetorical question "Do You Know Squarepusher?"). Absent are the lightning-fast drum and bass sequences that made Squarepusher Squarepusher to most ears. Instead it is a Miles Davis early fusion work (a la Bitches Brew) except Tom Jenkinson is the entire "group." And here you see the foundation for the Squarepusher sound: jazz. It's often pointed out that Tom Jenkinson was vehemently opposed to electronic music and was a highly disciplined and talented jazz musician (drums and bass in particular). It wasn't until Richard D. James (yes, the same Aphex Twin) warmed him up to electronic instruments and sequencers. Thus his f***ing sound consists of boxes that would be members of a Miles Davis group if he had lived to the end of the 20th and the beginning of the 21st century. But this album shows more explicitly the roots of that sound. Here drums are real and played by a human being. Yet in spite of its slower-than-normal-Squarepusher tempo, you can't help but be entranced by its groove (and try playing it yourself too). You can hear melody in his bass playing and harmony in his keyboard. You can also hear colourations of the sound. It's a mousse cake that you can finally savour instead of feeling like it's being fed to you in chunks through a Gatling gun. While I've come to hear other Squarepusher albums, this holds a special place being that it was my first one, the one that got me more interested in the Warp label and the one that veered me into knowing about jazz. Music may be "rotted one note" but you cannot help but be enamoured by it.
"Music is Rotted..." sounds like Miles Davis' "Bitches Brew," summed up into one double-sided LP, and all written, performed and produced by one man. Even Miles would be in awe of Jenkinson's work here. Amazing spacey/ambient jazz with occasional noise seem to describe this album well. Jenkinson really displays his talents on (real)drums and (real)bass, as I think that I can safely say that jazz beats and tempos are some of the more difficult to master, especially on drums. I'd be quite satisfied if he just kept releasing albums like this one.
Pretty out of the ordinary release we got here. Has the nostalgic sound of mid 70’s fusion jazz with Squarepusher’s own mixed right in. The feeling that I get when listening to this is that it was just picked off a shelf next to Billy Cobham’s Spectrum or Weather Report’s Heavy Weather. The analogue sythns just remind me of something my dad would have listened to a long time ago. Even though the album as a whole isn’t much its worthy of a 3/5.
No, it's not his strongest album... oh wait, yes it is. Unlike all his other records, I can put this on and never, ever feel like skipping a track. There's so much emphasis on performance and sound, and less on technicality and how many snare rolls he can fit in less than a second, and I fucking love it. Absolute divine beauty wonderful yeaaaah.
watching to future
I am ashamed to hear so many bad reviews of this album. For those of you who do not appreciate this album, you should not be listening to Squarepusher in the first place, as to deny his roots is to deny his art (where do you think the term IDM came from anyway?). As many have said, this album is one of the most amazing tributes to the great fusion jazz musicians of our time, and before our time (depending on how old you are) that exists among modern artists. Jenkinson has taken what he knows about jazz (which is clearly a good deal!), and has created a masterpiece. For anyone who does appreciate Jenkinson's roots (Coltrane, Davis, Lloyd, Roach, among others), you are in for a treat with this album. I HIGHLY RECOMMEND THIS ALBUM!
Congratulations, Mr. Jenkinson. This is one of the best ever released records on WARP. It's sounds so true, so fresh and interesting. This is real JAZZ!
when i first listened to this, i thought it was terrible. i'd never heard something sound so stupid. my friend told me i'd like it more as i listened to it more, and he was damn right. 2nd time around i loved it. Don't Go Plastic and My Sound are my favorites, but the album is an all-around great piece of work. it's very different, but very enjoyable once you get into it
If I wanted to hear this kind of music I'd put on Miles Davis' _Bitches Brew_. This isn't bad, but the style has been done so often (and so much better) that it's boring. Tom should stick to more electronic fare (I loved "Budakhan Mindphone", to compare).
Ok, It kinda bothers me that this album (Music Is Rotted One Note) is always either dismissed, overlooked, or so underappreciated. In the first listen, I understand it seems much more ambient than his usual machine drum tracks and spastic time changes...but this doesn't mean there is less going on. Trying to gather this album in under 3 listens is like looking for a mouse in the dark. You gotta wait for your eyes to adjust before you'll spot 'em. Let your brain do some adjusting for this album (if it takes drugs, hey, whatever it takes). Tom Jenkinson in all his wanderful discography absolutely DOES NOT have an album that demonstrates his amazing bass playing abilities or drum skill as well as this one (Listen to that goddamn ride...Tony Williams anyone?). IT'S JAZZ. Miles Davis would have shit his pants if he was ever able to hear this. Bottom line, give this album a chance. It took me a few weeks, but now it's hard to say i like another album of Squarepusher's more. JAZZ JAZZ JAZZ the motherfucker knows his JAZZ. -JT
I am hcv men
Here is an item which is adding itself to the great releases of Warp like "Smoker's Delight" , "Incunabula" , "I Care Because You Do" and "Production Bytes" .
This is a terrible album, it's like Squarepusher decided to take all this momentum he had built up from album to album and just let is DROP! BOO HISS!
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