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Squarepusher
Tom "Squarepusher" Jenkinson makes manic, schizoid experimental drum'n'bass with a heavy progressive jazz influence and a lean toward pushing the clichés of the genre out the proverbial window. Rising from near-total obscurity to drum'n'bass cause célèbre in the space of a couple of months, Jenkinson released only a pair of EPs and a DJ Food remix for the latter's Refried Food series before securing EP and LP release plans with three different labels. His first full-length work, Feed Me Weird Things (on Richard "Aphex Twin" James' Rephlex label), was a dizzying, quixotic blend of superfast jungle breaks with Aphex-style synth textures, goofy, offbeat melodies, and instrumental arrangments (Jenkinson samples his own playing for his tracks) that recall vaguely jazz fusion pioneers such as Mahavishnu Orchestra and Weather Report. A skilled bassist and multi-instrumentalist, Jenkinson's fretless accompaniment is a staple of his music and one of the more obvious affiliations with jazz (although his formal arrangements are often as jazz-derived as his playing).
Jenkinson grew up listening to jazz and dub greats like Miles Davis, Augustus Pablo, Charlie Parker, and Art Blakey. The son of a jazz drummer, Jenkinson followed in his father's footsteps, playing bass and drums in high school. Introduced to electronic music through experimental electro-techno artists such as LFO and Carl Craig, Jenkinson soon began assembling the rolls of disparate influence into amalgams of breakbeat techno and post-bop avant-garde and progressive jazz. Claiming a closer affinity with jazz than jungle (although he draws from both equally in his music), Jenkinson's EPs as Squarepusher and the Duke of Harringay (Jenkinson moved to Harringay from his Chelmsford birthplace) were initially disregarded as misplaced perversions of jungle's more obvious compositional principles, but found ready audience in fans of post-acid house experimental listening music. He inked a deal with Warp in 1995, releasing the Port Rhombus EP and three others through a variety of different labels. His full-length debut, Feed Me Weird Things, appeared in 1996, followed a year later by Hard Normal Daddy.
Critical acclaim for Jenkinson's work peaked with 1998's Music Is Rotted One Note, for which he became a one-man fusion group -- multi-tracking himself playing drums, bass, and keyboards. The following year, he released two EPs (Budakhan Mindphone, Maximum Priest) and another full LP, Selection Sixteen. Go Plastic appeared in summer 2001, featuring the closest thing to a hit Squarepusher had ever seen, with the single "My Red Hot Car." Subsequent releases such as 2003's Do You Know Squarepusher and 2004's Ultravisitor found him refining his fusion of composition, programming, and musicianship, characteristics that were also heard on 2006's Hello Everything and 2008's Just a Souvenir.
Italian electro/techno composer Gianluigi Di Costanzo is the name behind the Milan-based Bochum Welt, whose smattering of atmospheric acid and electro releases have been quick in establishing him as an artist at the edge of post-rave experimental electronica. Inspired by the '70s Dusseldorf scene through such figures as Ralf Hutter and Florian Schneider (both of Kraftwerk), as well as artists such as Brian Eno and Ryuichi Sakamoto, Di Costanzo released his first work as Bochum Welt on the Italian Trance Communications label starting in 1994, at the age of 21. Focusing mostly on acid and more typical floorbang techno, Di Costanzo worked as often on atmospheric electro and ambient, little of which saw release until many years later (most notably on the Phial EP). Though Italy is hardly a stronghold of techno experimentation, Di Costanzo's early Trance twelves, as well as a collaboration with labelmates Zenith attracted the attention of Aphex Twin Richard James, whose Rephlex imprint reissued several tracks from the Bochum Welt back-catalog as the Scharlach Eingang EP in 1995. Di Costanzo followed up his Rephlex debut the following year with a full-length for the label, Module 2; Desktop Robotics followed in 1997, trailed two years later by Martians and Spaceships. He has also released material through his own label, Kromode, and the Swiss Axodya label.
Since the late 90s Qwerty has released several albums of experimental electronic music as both Qwerty and Spleen on Phthalo (LA), Piehead (Toronto), Kitchen Sink (NY) and Egoboo.Bits (ZG/HR). The Concrete Acid EP for Glasgows Rottenrow released in 2006 was his first
vinyl release and featured 4 concrete-solid electro acid-influenced tracks, both dancefloor honed and jittery percussive. 'Concrete Acid' reached top 20 electro bestsellers on Boomkat and top 10 Warpmart recommendations, and was presented on the popular Breezeblock show (BBC Radio 1). One of the radio shows which featured Qwertys DJ mixes in more than 20 countries worldwide was the legendary Solid Steel show (Cold Cut/Ninja Tune).
One third of the Austrian band of brothers Winterstrand, Simon/Off started spinning Breaks and D&B in 1998. Soon he moved on exploring different terrains of IDM, Minimal and Breakcore, also production wise. His first solo 12" appeared in 2005 on Houseverbot records, followed by an album on netlabel Kikapu Records. Getting in contact with a steadily growing netlabel scene, he took the next step releasing more of his music in digital format on labels like Miga, as well as a netaudio-only-mix on German Mixotic imprint. His latest dubstep productions are receiving a massive support from the likes of DJ Distance, DJ IZC, Bunzer0, Boomnoise, 2Krazy, Rob Booth, DJ Shiva and many others.
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