» » Squarepusher - Ufabulum & Enstrobia

Squarepusher - Ufabulum & Enstrobia mp3

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Tracklist

1Ecstatic Shock5:08
2Drax 27:23
3Energy Wizard3:48
4Dark Steering6:51
5Angel Integer4:04
640016:35
7 Ufabulum
840.96a6:27
9Unreal Square5:18
10Panic Massive3:46
11303 Scopem Hard4:56
12Stadium Ice4:22
13Red In Blue3:11
14 Enstrobia
15The Metallurgist3:51

Versions

CategoryArtistTitle (Format)LabelCategoryCountryYear
WARPCD228Squarepusher Ufabulum ‎(CD, Album, Dig)Warp RecordsWARPCD228UK2012
BRC-334Squarepusher Ufabulum ‎(CD, Album, Jew)Beat Records, Warp RecordsBRC-334Japan2012
BRC-334LTD, BRC-334, WAP336CD, BRC-334 LTD, WARPC2Squarepusher Ufabulum & Enstrobia ‎(CD, Album + CD, EP + Ltd)Beat Records, Warp Records, Beat Records, Warp Records, Beat Records, Warp Records, Warp RecordsBRC-334LTD, BRC-334, WAP336CD, BRC-334 LTD, WARPC2Japan2012
WARPCDD228Squarepusher Ufabulum ‎(10xFile, MP3, Album, 320)Warp RecordsWARPCDD228UK2012
WARPLP228X, WAP336CDSquarepusher Ufabulum / Enstrobia ‎(2xLP, Album + CD, EP + Box, Ltd)Warp Records, Warp RecordsWARPLP228X, WAP336CDUK2012

Credits

  • Design – Nick Robertson
  • Mastered By [Uncredited] – Kevin Metcalfe
  • Music By, Artwork [Led Imagery By] – Tom Jenkinson
  • Photography By – Donald Milne, Nick Robertson
  • Design – Nick Robertson
  • Mastered By [Uncredited] – Kevin Metcalfe
  • Music By, Artwork [Led Imagery By] – Tom Jenkinson
  • Photography By – Donald Milne, Nick Robertson

Notes

Made in EU.

Track 2-3 recorded in a live session at Green Man Festival 2011.

CD Album in six panel digipak with twelve page booklet, plus three track Enstrobia CD EP also in digipak, bound together in a slipcase (printed black with spot gloss UV). Sticker on front reads "Squarepusher Ufabulum 2CD edition includes Enstrobia EP".Made in EU.

Track 2-3 recorded in a live session at Green Man Festival 2011.

CD Album in six panel digipak with twelve page booklet, plus three track Enstrobia CD EP also in digipak, bound together in a slipcase (printed black with spot gloss UV). Sticker on front reads "Squarepusher Ufabulum 2CD edition includes Enstrobia EP".

Barcodes

  • Barcode: 801061822828
  • Other (Album catalogue #): WARPCD228
  • Other (EP catalogue #): WAP336CD
  • Matrix / Runout (Album: Variant 1 & 2): CA WARPCD228 @ 03/05/12 05:37:45 PM
  • Mastering SID Code (Album: Variant 1 & 2): IFPI L039
  • Mould SID Code (Album: Variant 1): IFPI 1285
  • Mould SID Code (Album: Variant 2): IFPI 1287
  • Matrix / Runout (EP: Variant 1): CA WAP336CD @ 04/04/12 09:01:39 AM
  • Matrix / Runout (EP: Variant 2): CA WAP336CD @ 04/04/12 09:01:38 AM
  • Mastering SID Code (EP: Variant 1 & 2): IFPI L039
  • Mould SID Code (EP: Variant 1): IFPI 1287
  • Mould SID Code (EP: Variant 2): IFPI 1283
  • Label Code (Album): LC02070

Companies

  • Phonographic Copyright (p) – Warp Records Limited
  • Copyright (c) – Warp Records Limited

Video

Info

Cover grading. Squarepusher has stated that It's music which is generated purely from programming. Формируйте собственную коллекцию записей is the eleventh album by Squarepusher, released on 15 May 2012. page 1, 1. Featured sellers. Ufabulum follows a string of disappointing missteps in the Squarepusher story, namely 2008's fusion-funk meltdown Just a Souvenir 2009's Solo Electric Bass 1, a collection of unaccompanied bass noodlingsoloing and 2010's half-baked experiment Shobaleader One: dDemonstrator. Squarepusher has stated that It's music which is generated purely from programming. squarepusher 2. We're finally reaching the homestretch of this discography review, and it's time to talk about Tom Jenkinson's modern makeover. His detractors have since found new things to hate, and his acolytes have weathered the various less-than-effective shifts in direction that come with following any long-running artist prone to frustrating whims. Ufabulum comes many years and many albums after Squarepusher briefly enjoyed this kind of marginal pop culture recognition. 14 tracks 68:17. Bring Squarepusher - Ufabulum Live to Australia via KISS FM. Jazz music community with review and forums. Good deals. New items. Mint Sellers. All formats Album CD CD Album CD Single CD Maxi Vinyl records LP 7 inchs 7 inchs SP 7 inchs EP 12 inchs 78 rpm 10 inchs DVD VHS Cassette Clothing T-Shirt Others. Individual tracks can still induce a whoa response from unsuspecting listeners. We're finally reaching the homestretch of this discography review, and it's time to talk about Tom Jenkinson's modern makeover. 0 rating 0 review. Squarepusher - Ufabulum 2012. 11 March 2014 . Featured items. Even the best moments of early albums were shelved between multiple phoned-in tracks or clearly less-inspired variations on the same theme. This has always been a problem with Squarepusher's music, and Ufabulum is no different. To favorites 1 Download album. There's no live guitar or drums, there's nothing in it which is live, really. More Squarepusher is a jazz related electronicahip-hop music album recording by SQUAREPUSHER released in 2012 on CD, LPVinyl andor cassette. There's no live guitar or drums, there's nothing in it which is live, really. Ufabulum follows a string of disappointing missteps in the Squarepusher story, namely 2008's fusion-funk meltdown Just a Souvenir 2009's Solo Electric Bass 1, a collection of unaccompanied bass noodlingsoloing and 2010's half-baked experiment Shobaleader One: dDemonstrator. Listen free to Squarepusher Ufabulum & Enstrobia 4001, Unreal Square and more. This has always been a problem with Squarepusher's music, and Ufabulum is no different. With Animal Collective's warped, whooping Sung Tongs turning 10 this year, Mike Powell looks back on his early experiences with the album as a 21-year-old college kid coming to grips with the bittersweet realities of adulthood. Record grading. Filed under Jazz Related ElectronicaHip-Hop By SQUAREPUSHER. Listen album. At the time of release, Squarepusher made several appearances in festivals across the world, including his first show in Brazil, at the Sónar Festival. SQUAREPUSHER - Ufabulum. Album 2012. With Animal Collective's warped, whooping Sung Tongs turning 10 this year, Mike Powell looks back on his early experiences with the album as a 21-year-old college kid coming to grips with the bittersweet realities of adulthood

Squarepusher - Ufabulum & Enstrobia mp3

Performer: Squarepusher

Title: Ufabulum & Enstrobia

Country: UK

Release date: 14 May 2012

Label: Warp Records

Style: Leftfield, Breaks, IDM, Ambient

Catalog: WARPCD228X

Genre: Electronic

Size MP3: 1397 mb

Rating: 4.6 / 5

Votes: 724

Record source: CD, Album CD, EP All Media, Limited Edition

Squarepusher Warp Records Leftfield Breaks Idm Ambient 2012

MP3 Related to Squarepusher - Ufabulum & Enstrobia

Jube
Ufabulum? Ufabulous! Squarepusher gooood release; it's unanimous. And I heard that it makes Pikatchu's Tamagotchi uphorious, so they likey very much too!
Jube
Ufabulum? Ufabulous! Squarepusher gooood release; it's unanimous. And I heard that it makes Pikatchu's Tamagotchi uphorious, so they likey very much too!
Bine
I suppose Tom Jenkinson requires no introduction. Any child of electronica should be familiar with his contribution to the evolution of music since his debut, “Feed Me Weird Things” (Rephlex, 1996). And even though, Jenkinson joined the Warp family in 1997, way after Autechre and Aphex Twin, his Squarepusher sound is still one of the staple commodities of the British label, and electronic music itself. Those who somehow missed the era of Squarepusher’s Amen breaks and broken glitchy drums, need only to dig through his vast catalog to catch up. Among these, I highly recommend “Hard Normal Daddy” (1997), “Big Loada”, (1997), “Selection Sixteen” (1999), “Go Plastic” (2001), “Venus No. 17” (2004) and my personal favorite, “Do You Know Squarepusher” (2002).

I would have preferred to stay away from regurgitating Jenkinson’s vast discography, especially since I consider him an artist prominent enough for you to know, but in this case the storyline is important to revisit, to traverse his ample sonic arc. At the peak of this curve, we find Squarepusher tweaking the knobs of destructive DSP boxes and slicing up drum loops into a dizzying typhoon of collapsing beats, to what back then, as a precursor to breakcore, felt to be the most mind-warping, accelerated music I have ever heard. With an added sprinkle of AFX-like banter, as is the case with one of my all-time favorite EPs, “My Red Hot Car” (2001), Squarepusher was unstoppable and without a doubt at the top of his game.

Around 2004, for his “Ultravisor” release, Jenkinson began experimenting with live sound, layering many juxtaposed pieces with Spanish guitar and his very special fretted bass. The music began approaching future jazz territory, until in 2008, “Just A Souvenir” found Squarepusher’s sound all but unrecognizable among the leftfield, fusion, and art-rock riffs. For the latter, Jenkinson walked away from the computer monitor and performed all live takes, recording the instrumentals for entire tracks all the way through. The 2010 follow-up, in which Squarepusher introduced Shobaleader One‘s “d’Demonstrator”, left many fans confused, at times scratching their heads at the brand new chapter that Jenkinson began to write with his electro retro funk. Many walked away disheartened, leaving the album in a pile of flustered shameful dust.

I managed to stay focused, following Jenkison’s development as a musician, always challenged with self-reinvention. Throughout these incredibly unique albums, I navigated every unanticipated turn with mild fascination, marvel and awe, until all of my feelings matured into a total appreciation of his sound. Yes, after admittedly numerous listens, I fell in love with the progression of Squarepusher, eventually doubting, like many others, that he would ever relapse to his [now old-skool] electronic ways. But with the release of his fifteenth studio album, my patience finally paid off!

On “Ufabulum” Jenkins performs an acrobatic somersault, returning to his roots, while managing to fuse all of the taken detours together. The drills and breaks are back; the analog bass and digital effects are back, the synths and acid lines are back; even the titles of the tracks, like “303 Scopem Hard” all but flashback to the ‘original’ Squarepusher! Although the world’s fascination with dubstep does not appear to have deeply penetrated Squarepusher’s sound, the 16-bit arcade style lo-fi bleeps and plops comfortably settle beneath his yesteryear cutting edge sound.

Jenkins maintains his tongue-in-cheek trance stabs and dark humor IDM just above the surface of serious commitment to intelligent programming and visionary sound design. The seemingly toy-like melodies on “Unreal Square” get drowned in simplistic drum machine patterns and dehydrating saw-tooth bass, until that almost-familiar lead line draws a parallel between two worlds, builds in a snare roll and ruptures into a cut-up post-break drum’n’bass, connecting one Squarepusher to the other. It’s Squarepusher remixing Squarepusher, if you will, combining all of the invented elements of the past, with not yet discovered production of the future.
Bine
I suppose Tom Jenkinson requires no introduction. Any child of electronica should be familiar with his contribution to the evolution of music since his debut, “Feed Me Weird Things” (Rephlex, 1996). And even though, Jenkinson joined the Warp family in 1997, way after Autechre and Aphex Twin, his Squarepusher sound is still one of the staple commodities of the British label, and electronic music itself. Those who somehow missed the era of Squarepusher’s Amen breaks and broken glitchy drums, need only to dig through his vast catalog to catch up. Among these, I highly recommend “Hard Normal Daddy” (1997), “Big Loada”, (1997), “Selection Sixteen” (1999), “Go Plastic” (2001), “Venus No. 17” (2004) and my personal favorite, “Do You Know Squarepusher” (2002).

I would have preferred to stay away from regurgitating Jenkinson’s vast discography, especially since I consider him an artist prominent enough for you to know, but in this case the storyline is important to revisit, to traverse his ample sonic arc. At the peak of this curve, we find Squarepusher tweaking the knobs of destructive DSP boxes and slicing up drum loops into a dizzying typhoon of collapsing beats, to what back then, as a precursor to breakcore, felt to be the most mind-warping, accelerated music I have ever heard. With an added sprinkle of AFX-like banter, as is the case with one of my all-time favorite EPs, “My Red Hot Car” (2001), Squarepusher was unstoppable and without a doubt at the top of his game.

Around 2004, for his “Ultravisor” release, Jenkinson began experimenting with live sound, layering many juxtaposed pieces with Spanish guitar and his very special fretted bass. The music began approaching future jazz territory, until in 2008, “Just A Souvenir” found Squarepusher’s sound all but unrecognizable among the leftfield, fusion, and art-rock riffs. For the latter, Jenkinson walked away from the computer monitor and performed all live takes, recording the instrumentals for entire tracks all the way through. The 2010 follow-up, in which Squarepusher introduced Shobaleader One‘s “d’Demonstrator”, left many fans confused, at times scratching their heads at the brand new chapter that Jenkinson began to write with his electro retro funk. Many walked away disheartened, leaving the album in a pile of flustered shameful dust.

I managed to stay focused, following Jenkison’s development as a musician, always challenged with self-reinvention. Throughout these incredibly unique albums, I navigated every unanticipated turn with mild fascination, marvel and awe, until all of my feelings matured into a total appreciation of his sound. Yes, after admittedly numerous listens, I fell in love with the progression of Squarepusher, eventually doubting, like many others, that he would ever relapse to his [now old-skool] electronic ways. But with the release of his fifteenth studio album, my patience finally paid off!

On “Ufabulum” Jenkins performs an acrobatic somersault, returning to his roots, while managing to fuse all of the taken detours together. The drills and breaks are back; the analog bass and digital effects are back, the synths and acid lines are back; even the titles of the tracks, like “303 Scopem Hard” all but flashback to the ‘original’ Squarepusher! Although the world’s fascination with dubstep does not appear to have deeply penetrated Squarepusher’s sound, the 16-bit arcade style lo-fi bleeps and plops comfortably settle beneath his yesteryear cutting edge sound.

Jenkins maintains his tongue-in-cheek trance stabs and dark humor IDM just above the surface of serious commitment to intelligent programming and visionary sound design. The seemingly toy-like melodies on “Unreal Square” get drowned in simplistic drum machine patterns and dehydrating saw-tooth bass, until that almost-familiar lead line draws a parallel between two worlds, builds in a snare roll and ruptures into a cut-up post-break drum’n’bass, connecting one Squarepusher to the other. It’s Squarepusher remixing Squarepusher, if you will, combining all of the invented elements of the past, with not yet discovered production of the future.
watchman
This album is very interesting. Regardless of what type of Squarepusher you fell in love with, this album WILL subvert your expectations. At least at parts. If you were the person who fell in love with SP's absolutely chaos-driven IDM craziness, then the first half will leave you wondering where it might have been placed. It's there, but not in full effect. Then, the second half comes in and completely tears it up. The first 5 tracks that have lulled the impending storm are now far behind and absolute darkness has enveloped you. In a good way. Then the album finished off in a superb blending of the two halves, the Yin and Yang, of the album. I find this is an album I will have to listen to many times to fully appreciate, as it subverted my own expectations in the first few listens. Without a doubt if you are a Squarepusher fan of any kind, this album is worth a listen.
watchman
This album is very interesting. Regardless of what type of Squarepusher you fell in love with, this album WILL subvert your expectations. At least at parts. If you were the person who fell in love with SP's absolutely chaos-driven IDM craziness, then the first half will leave you wondering where it might have been placed. It's there, but not in full effect. Then, the second half comes in and completely tears it up. The first 5 tracks that have lulled the impending storm are now far behind and absolute darkness has enveloped you. In a good way. Then the album finished off in a superb blending of the two halves, the Yin and Yang, of the album. I find this is an album I will have to listen to many times to fully appreciate, as it subverted my own expectations in the first few listens. Without a doubt if you are a Squarepusher fan of any kind, this album is worth a listen.
EXIBUZYW
For those of you who appreciate the "classic" Squarepusher sound, The Metallurgist is really where the meat and potatoes of this long player begins in earnest. To my ears the first five tracks are solid but since Ultravisitor I have been searching for that ideosyncratic Squarepusher sound to really get my pulse thumping. The second half of this long player really does invite you back to that sound and lets you wipe your feet on the welcome mat.

For me this is the real deal.
EXIBUZYW
For those of you who appreciate the "classic" Squarepusher sound, The Metallurgist is really where the meat and potatoes of this long player begins in earnest. To my ears the first five tracks are solid but since Ultravisitor I have been searching for that ideosyncratic Squarepusher sound to really get my pulse thumping. The second half of this long player really does invite you back to that sound and lets you wipe your feet on the welcome mat.

For me this is the real deal.
Little Devil
Ufabulum? Ufabulous! Squarepusher gooood release; it's unanimous. And I heard that it makes Pikatchu's Tamagotchi uphorious, so they likey very much too!
Little Devil
Ufabulum? Ufabulous! Squarepusher gooood release; it's unanimous. And I heard that it makes Pikatchu's Tamagotchi uphorious, so they likey very much too!
Kiutondyl
I suppose Tom Jenkinson requires no introduction. Any child of electronica should be familiar with his contribution to the evolution of music since his debut, “Feed Me Weird Things” (Rephlex, 1996). And even though, Jenkinson joined the Warp family in 1997, way after Autechre and Aphex Twin, his Squarepusher sound is still one of the staple commodities of the British label, and electronic music itself. Those who somehow missed the era of Squarepusher’s Amen breaks and broken glitchy drums, need only to dig through his vast catalog to catch up. Among these, I highly recommend “Hard Normal Daddy” (1997), “Big Loada”, (1997), “Selection Sixteen” (1999), “Go Plastic” (2001), “Venus No. 17” (2004) and my personal favorite, “Do You Know Squarepusher” (2002).

I would have preferred to stay away from regurgitating Jenkinson’s vast discography, especially since I consider him an artist prominent enough for you to know, but in this case the storyline is important to revisit, to traverse his ample sonic arc. At the peak of this curve, we find Squarepusher tweaking the knobs of destructive DSP boxes and slicing up drum loops into a dizzying typhoon of collapsing beats, to what back then, as a precursor to breakcore, felt to be the most mind-warping, accelerated music I have ever heard. With an added sprinkle of AFX-like banter, as is the case with one of my all-time favorite EPs, “My Red Hot Car” (2001), Squarepusher was unstoppable and without a doubt at the top of his game.

Around 2004, for his “Ultravisor” release, Jenkinson began experimenting with live sound, layering many juxtaposed pieces with Spanish guitar and his very special fretted bass. The music began approaching future jazz territory, until in 2008, “Just A Souvenir” found Squarepusher’s sound all but unrecognizable among the leftfield, fusion, and art-rock riffs. For the latter, Jenkinson walked away from the computer monitor and performed all live takes, recording the instrumentals for entire tracks all the way through. The 2010 follow-up, in which Squarepusher introduced Shobaleader One‘s “d’Demonstrator”, left many fans confused, at times scratching their heads at the brand new chapter that Jenkinson began to write with his electro retro funk. Many walked away disheartened, leaving the album in a pile of flustered shameful dust.

I managed to stay focused, following Jenkison’s development as a musician, always challenged with self-reinvention. Throughout these incredibly unique albums, I navigated every unanticipated turn with mild fascination, marvel and awe, until all of my feelings matured into a total appreciation of his sound. Yes, after admittedly numerous listens, I fell in love with the progression of Squarepusher, eventually doubting, like many others, that he would ever relapse to his [now old-skool] electronic ways. But with the release of his fifteenth studio album, my patience finally paid off!

On “Ufabulum” Jenkins performs an acrobatic somersault, returning to his roots, while managing to fuse all of the taken detours together. The drills and breaks are back; the analog bass and digital effects are back, the synths and acid lines are back; even the titles of the tracks, like “303 Scopem Hard” all but flashback to the ‘original’ Squarepusher! Although the world’s fascination with dubstep does not appear to have deeply penetrated Squarepusher’s sound, the 16-bit arcade style lo-fi bleeps and plops comfortably settle beneath his yesteryear cutting edge sound.

Jenkins maintains his tongue-in-cheek trance stabs and dark humor IDM just above the surface of serious commitment to intelligent programming and visionary sound design. The seemingly toy-like melodies on “Unreal Square” get drowned in simplistic drum machine patterns and dehydrating saw-tooth bass, until that almost-familiar lead line draws a parallel between two worlds, builds in a snare roll and ruptures into a cut-up post-break drum’n’bass, connecting one Squarepusher to the other. It’s Squarepusher remixing Squarepusher, if you will, combining all of the invented elements of the past, with not yet discovered production of the future.
Kiutondyl
I suppose Tom Jenkinson requires no introduction. Any child of electronica should be familiar with his contribution to the evolution of music since his debut, “Feed Me Weird Things” (Rephlex, 1996). And even though, Jenkinson joined the Warp family in 1997, way after Autechre and Aphex Twin, his Squarepusher sound is still one of the staple commodities of the British label, and electronic music itself. Those who somehow missed the era of Squarepusher’s Amen breaks and broken glitchy drums, need only to dig through his vast catalog to catch up. Among these, I highly recommend “Hard Normal Daddy” (1997), “Big Loada”, (1997), “Selection Sixteen” (1999), “Go Plastic” (2001), “Venus No. 17” (2004) and my personal favorite, “Do You Know Squarepusher” (2002).

I would have preferred to stay away from regurgitating Jenkinson’s vast discography, especially since I consider him an artist prominent enough for you to know, but in this case the storyline is important to revisit, to traverse his ample sonic arc. At the peak of this curve, we find Squarepusher tweaking the knobs of destructive DSP boxes and slicing up drum loops into a dizzying typhoon of collapsing beats, to what back then, as a precursor to breakcore, felt to be the most mind-warping, accelerated music I have ever heard. With an added sprinkle of AFX-like banter, as is the case with one of my all-time favorite EPs, “My Red Hot Car” (2001), Squarepusher was unstoppable and without a doubt at the top of his game.

Around 2004, for his “Ultravisor” release, Jenkinson began experimenting with live sound, layering many juxtaposed pieces with Spanish guitar and his very special fretted bass. The music began approaching future jazz territory, until in 2008, “Just A Souvenir” found Squarepusher’s sound all but unrecognizable among the leftfield, fusion, and art-rock riffs. For the latter, Jenkinson walked away from the computer monitor and performed all live takes, recording the instrumentals for entire tracks all the way through. The 2010 follow-up, in which Squarepusher introduced Shobaleader One‘s “d’Demonstrator”, left many fans confused, at times scratching their heads at the brand new chapter that Jenkinson began to write with his electro retro funk. Many walked away disheartened, leaving the album in a pile of flustered shameful dust.

I managed to stay focused, following Jenkison’s development as a musician, always challenged with self-reinvention. Throughout these incredibly unique albums, I navigated every unanticipated turn with mild fascination, marvel and awe, until all of my feelings matured into a total appreciation of his sound. Yes, after admittedly numerous listens, I fell in love with the progression of Squarepusher, eventually doubting, like many others, that he would ever relapse to his [now old-skool] electronic ways. But with the release of his fifteenth studio album, my patience finally paid off!

On “Ufabulum” Jenkins performs an acrobatic somersault, returning to his roots, while managing to fuse all of the taken detours together. The drills and breaks are back; the analog bass and digital effects are back, the synths and acid lines are back; even the titles of the tracks, like “303 Scopem Hard” all but flashback to the ‘original’ Squarepusher! Although the world’s fascination with dubstep does not appear to have deeply penetrated Squarepusher’s sound, the 16-bit arcade style lo-fi bleeps and plops comfortably settle beneath his yesteryear cutting edge sound.

Jenkins maintains his tongue-in-cheek trance stabs and dark humor IDM just above the surface of serious commitment to intelligent programming and visionary sound design. The seemingly toy-like melodies on “Unreal Square” get drowned in simplistic drum machine patterns and dehydrating saw-tooth bass, until that almost-familiar lead line draws a parallel between two worlds, builds in a snare roll and ruptures into a cut-up post-break drum’n’bass, connecting one Squarepusher to the other. It’s Squarepusher remixing Squarepusher, if you will, combining all of the invented elements of the past, with not yet discovered production of the future.
Hulore
This album is very interesting. Regardless of what type of Squarepusher you fell in love with, this album WILL subvert your expectations. At least at parts. If you were the person who fell in love with SP's absolutely chaos-driven IDM craziness, then the first half will leave you wondering where it might have been placed. It's there, but not in full effect. Then, the second half comes in and completely tears it up. The first 5 tracks that have lulled the impending storm are now far behind and absolute darkness has enveloped you. In a good way. Then the album finished off in a superb blending of the two halves, the Yin and Yang, of the album. I find this is an album I will have to listen to many times to fully appreciate, as it subverted my own expectations in the first few listens. Without a doubt if you are a Squarepusher fan of any kind, this album is worth a listen.
Hulore
This album is very interesting. Regardless of what type of Squarepusher you fell in love with, this album WILL subvert your expectations. At least at parts. If you were the person who fell in love with SP's absolutely chaos-driven IDM craziness, then the first half will leave you wondering where it might have been placed. It's there, but not in full effect. Then, the second half comes in and completely tears it up. The first 5 tracks that have lulled the impending storm are now far behind and absolute darkness has enveloped you. In a good way. Then the album finished off in a superb blending of the two halves, the Yin and Yang, of the album. I find this is an album I will have to listen to many times to fully appreciate, as it subverted my own expectations in the first few listens. Without a doubt if you are a Squarepusher fan of any kind, this album is worth a listen.
Berenn
For those of you who appreciate the "classic" Squarepusher sound, The Metallurgist is really where the meat and potatoes of this long player begins in earnest. To my ears the first five tracks are solid but since Ultravisitor I have been searching for that ideosyncratic Squarepusher sound to really get my pulse thumping. The second half of this long player really does invite you back to that sound and lets you wipe your feet on the welcome mat.

For me this is the real deal.
Berenn
For those of you who appreciate the "classic" Squarepusher sound, The Metallurgist is really where the meat and potatoes of this long player begins in earnest. To my ears the first five tracks are solid but since Ultravisitor I have been searching for that ideosyncratic Squarepusher sound to really get my pulse thumping. The second half of this long player really does invite you back to that sound and lets you wipe your feet on the welcome mat.

For me this is the real deal.