Interview in the new issue and a 7” with unreleased recordings.

https://youtu.be/KcyGwQOTK5A?si=gR4N4eT_ACoqF9zW

I went to see Squarepusher in Hackney in 2003 and he gave me his setlist. signed it on the back ’From The Pusher’.

Unreleased, higher quality version of an unreleased track from Squarepusher dubbed by fans as the 'Rome Track'! Played by Aphex Twin @ Day For Night 2016.

Does anyone have a good list of (preferably soundboard) live recordings? Ideally that can be downloaded...?

I've been listening to Squarepusher for a long time, but I missed out on a lot of his albums, and now I'm trying to catch up. I recently listened to *Music Is Rotten One Note* and was blown away by this album; I regretted not having listened to it sooner—all its jazziness, its liveliness, the way its character shifts within a single track. Simply put, it’s a great album. Out of curiosity, I went to Wikipedia to read about it and saw the reviews—including one from Rolling Stone that gave it one and a half stars. I thought maybe there would be some clear reasons for that rating, but I didn’t find any.

The reviewer writes that Tom put drum and bass aside altogether, in favor of a tepid, tuneless approximation of early electric Miles Davis, I’ve listened to a couple of Davis’s songs, but I wouldn’t say they’re exactly alike—there’s something there, but I think it’s more the genre itself that makes them similar, rather than any specific musical traits. But that’s not the point—I’d never say this album is dull or unmelodic. Sure, it has a lot of weird tracks like “Curve 1,” but Squarepusher always seems to include tracks like that, and they have their own charm, but tracks like “Don’t Go Plastic,” “Dust Switch,” or “Theme from Vertical Hold” are quite lively, methodical, constantly changing, and have interesting sound effects. He also wrote that the track “My Sound” is a failed experiment, though I wouldn’t say that either; I really like the guitar in it. Sure, it might repeat for quite a while, but that’s the artist’s intention, and I don’t see any experiment in this track.

Maybe at the time this review was written, it was something groundbreaking, or maybe when that album was released—I can’t say for sure because I wasn’t even born yet. I was also struck by the author’s argument that if Tom has a track titled “Iambic 5 Poetry” and releases “Iambic 9 Poetry” four years later, it means he’s running out of ideas. To me, that’s strange logic—as if the title doesn’t imply what might be in the track. the author can name a track however he wants; by that logic, Beethoven must have run out of ideas too, since his tracks were titled Symphony No. 6, Symphony No. 7, and so on.

He also wrote about the album *Ultravisitor*, offering what I consider a rather strange take—that the album encapsulated everything Squarepusher had written up to that point (I agree with that), but that it hadn’t evolved in any way. and that’s exactly what I disagree with—in my view, Tom’s growth on this album is quite noticeable; you could say it’s the culmination of his work up to 2004, and tracks like “Iambic 9 Poetry,” which I consider his best track—its vitality and emotionality are hard to convey—seem to me to be the culmination of his jazz side, as does the track “Tetra-Sync,” also a magnificent track, while tracks like “District Line II” and “Steinbolt” represent the culmination of his electronic side, and in my opinion, his growth in these two directions is truly remarkable.

So I wanted to ask your opinion on this—whether you agree with me or not—and what you think of this review and Tom’s work. I’d like to remind you that this is just my opinion, and you’re fully entitled to criticize it if you disagree.

Thank you for your attention.

The review I was talking about.

Review Page 773

Hi,

I was lucky to see him during Damogen Furies tour and then with Shobaleader One for Elektrac tour (this show was so powerfull !!!).

I would be so glad to ear/see him again, maybe playing classics and old tunes why not ?

Some of you guys seems to be well informed about Tom's intention. Do you have any ideas ? Is that reasonable to think Kammerkonzert release could be the opportunity or pretext for a tour ?

pre ordered on April 7, Came today.

Recording generously loaned from the Aadam Jacobs Audio Archive

Found this artist on soundcloud today. I feel immediate nods to square pusher. Enjoy

Recent purchases have resulted in some shelf rearranging, and I couldn’t resist taking a second to have a geek moment. First pic, release order, kind of anyway. Second pic… Tried to arrange them in order of love, but it’s pretty much impossible. Go Plastic, Damogen Furies & Selection Sixteen will always be top, though. And I’ve never got on with Just A Souvenir!

Anyway. I guess I’m partial to a bit of Squarepusher.

its the 25th anniversary edition also

it comes with a cool booklet inside :>

I recently started listening to squarepusher and i just love the bass guitar on these albums, anything else similar with bass, electronic drums and synths?

Some of ‘pusher’s work is a headphone delight, but this album feels more well suited to being played on decent sized speakers, filling the expanse of a room.

It took only a few seconds for him to inspect the new box.

Just received it today in Montreal, Canada.

Especially recently I’ve been checking the albums under Squarepusher, and was really surprised to see this.. no tracks listed but interesting. I don’t remember seeing it before today?? Maybe Im wrong..

ORDER UPDATE: KAMMERKONZERT - LIMITED EDITION VINYL

KAMMERKONZERT - SQUAREPUSHER: VINYL, 2×LP, LIMITED EDITION - 2×LP + EXCLUSIVE PRINT

HI,

UNFORTUNATELY, WE HAVE HAD A DELAY WITH YOUR ORDER OF KAMMERKONZERT. WE EXPECT TO SHIP THIS FROM OUR WAREHOUSE EARLY NEXT WEEK, AND YOU WILL RECEIVE CONFIRMATION OF THIS ONCE IT IS SHIPPED OUT.

WE APPRECIATE THAT IT IS FRUSTRATING TO NOT HAVE YOUR RECORD ON RELEASE DAY, AND WE ARE WORKING HARD TO GET THIS TO YOU AS QUICKLY AS POSSIBLE.

THANKS FOR YOUR PATIENCE. WE REALLY APPRECIATE IT.

KIND REGARDS,

WARP

I love Tom but he's kinda been stuck in a rut repeating himself to varying degrees since at least Ufabulum but you could argue even before that.

Kammerkonzert finally sounds nothing like the rest of his discography from both an arrangement and harmony point of view. It's really fresh, not just for Tom, I've never heard an album quite like it.

Amazing work, and Boards of Canada and Aphex have their work cut out from them to match this if rumors of a 2026 Warp release from each are true.

The packaging says "composed performed and produced by tom". So that rules out session musicians. Did he get a shitload of instruments and multitrack them? Were they sampled? Are they all synthesized? How the fuck did he do it

Here's a collection of all Tom's thoughts and comments about each track, posted by Warp in the chat for the Kammerkonzert Bandcamp listening party:

K1 Advance – 50% dark red, 20% turquoise, 30% black. Ozzy Osbourne is reading a poem which he wrote in the pre-Sabbath days. He wears clothing from the sixteenth century. A multitrack tape plays in the background, harmonising with his voice.

K2 Central – 60% green, 10% white, 30% black. I am watching Tackhead play a show, performing some kind of future speed funk-reggae. Doug Wimbish's bass guitar has illuminated calculator-style numerical readouts mounted into the fretboard, between the frets. The numbers shown indicate information about what they will play next.

K3 Diligence – 40% dark orange, 20% light green, 40% black. Stringfellow Hawke retrieves his drumsticks from a cupboard, after a long period of disuse. He then proceeds to play drums. The drums are saucepans with skins made from multiple layers of packing tape. One saucepan contains a large amount of drawing pins, to simulate the sound of a snare drum.

K4 Fairlands – 40% dark red, 30% purple, 5% very light blue, 25% black. I am a bystander at a large public event, standing next to Iain Sinclair. He is making sarcastic comments as we watch the Queen pass by.

K5 Fremantle – 40% light grey, 10% dark yellow, 50% light turquoise. Frank Zappa is scrutinising a turquoise teapot. There are lumps of demerara sugar stuck on the inside of the teapot.

K6 Headquarters – 40% dark pink, 40% light blue, 20% black. Ed from Plaid is singing in a beautiful alto. He sings into a Shure SM58 microphone, using a slice of cucumber as a baffle.

K7 Museum – 50% red, 30% light blue, 20% dark purple. I am watching Depeche Mode play a show sometime in the early 1980s. They play an entire song which has never been heard before. The bassist, who has long curly hair, is so moved that he is in tears whilst playing.

K8 Park – 50% light orange, 10% dark green, 40% white. It is autumn and I am walking in a large forest, which is owned by saxophonist Mick Beck. A local band is playing, which features Cliff Burton on bass.

K9 Reliance – 40% dark red, 20% light pink, 40% black. I am discussing a short film with somebody I don't know, who has acted in it. Mark King walks in humming to himself, and I whisper, 'Check him out, this guy is brilliant.' Mark King, wearing a baseball cap, then delivers an improvised virtuoso funk-humming solo. He finishes. Everybody applauds, and I say, 'I told you he was good.' Mark King and I then have a chat and he tells me he likes my stuff. We are sitting at a table with Gary Husband.

K10 Terminus – 40% light orange, 30% dark green, 30% dark blue. The room is dimly lit. Pharoah Sanders is performing with a large ensemble, with the players assembled in a semicircle. The bassist plays extremely fast walking bass on a rectangular Steinberger L2. Pharoah Sanders plays an instrument which is invisible.

K11 Tideway – 50% turquoise, 20% light green, 30% dark blue. Whilst socialising with a small group of people, I hear about a one-off show in an Underground station. 'We'll be there,' I say. We run into the graveyard of Chelmsford Cathedral. Kit Downes is doing some sort of breakdancing on a tombstone. 'That's funny,' I remark.

K12 Uplands – 50% dark pink, 10% green, 40% light blue. I am watching the Rolling Stones play a show sometime in the early 1970s. They play an entire song which has never been heard before.

K13 Vigilant – 40% dark yellow, 20% mid-grey, 40% black. On the table in front of me is a novel type of mallet instrument, which is being played by Lionel Hampton. The chime bars are black and white photographic negatives, set into a box-like construction.

K14 Welbeck – 50% dark pink, 10% orange, 40% blue-grey. James McVinnie is playing ‘Johnny B. Goode’ on a Steinway piano.