![]() ![]() Why don’t we try that.” And I suppose some of my ideas were slightly off-kilter, a bit wacky, here and there, but in any case, I didn’t really get to explore those ideas in that format, which eventually I found frustrating and led me to direct more energy into my kind of homespun messing about with music gear. But I’d always have ideas: “Oh, why don’t we try to do this. I was generally the kid I was playing bass in essentially other people’s bands. We’ve talked about limitations, but when those limitations are human-i.e., other people saying “no”-it’s not the kind of thing that you can overrule. The one area which I suppose I’ve always skirted around-because I felt like it was a musical ailment from which I had to recover, as a teenager-was just playing with groups. And that situation of working with an extremely limited range of equipment just conditioned a mind-set which prevails to this day for me.Īre there instruments or gear or technologies that you feel you maybe haven’t had the chance to explore yet that you’re considering for future recordings or live performances? ![]() When I say “what to do,” I mean what to do artistically, you know, like how to whip all this garbage into shape. There weren’t manuals telling you particularly what to do with these pieces of equipment. ![]() could “long-term borrow.” Some people call it stealing. So, you know, anything-whatever I could find, whatever I could afford, or whatever I could blag, whatever I could borrow . . . The only condition was that it was to do with music. But really I just scrabbled together whatever I could, without any real kind of governing criteria. When I was starting out using computers I had a Commodore VIC-20, which I programmed as some kind of drum machine-my self-estimate of what I thought a drum machine might be like. Some of those things were available, but really not much. Obviously there were the beginnings of such things on home PCs, which I did make use of. This, in contrast to my early days of making music in the 80s, is a rather different situation, obviously, in that the availability of computer software was not really existent. My situation when I started making music was in quite extreme contrast to kids starting out these days-who, if they are in possession of a half-decent PC and an Internet connection, could quite quickly set themselves up with an extremely versatile electronic-music studio. I wanted to ask you about making music using a limited palette. Squarepusher is known for mixing electronics with live instrumentation-records like Solo Electric Bass 1 using just a bass guitar, and your current record, Ufabulum, which is all programming and no live instruments. Recently the pair have moved away from mashups and begun making original music that stays true to their appreciation of dorky guitar rock and rawkus party rap-in fact they’re celebrating the release of their first album of that material, Feat, on Fri 11/2 at Metro see Soundboard for more. The group started out in early 2007 semi-jokingly mashing up indie rock and rap (including a Squarepusher track and a Bun B song for 2008’s “ European Gangstas“), which led to unexpected Internet fame, recognition by tastemakers such as New York streetwear company Mishka (which released their Trillwave mixtapes in 2010 and ’11), and a full-time job on the national DJ circuit for Reidell (who’s also responsible for the Hood Internet’s hilarious Twitter feed). Interviewing Jenkinson for this week’s Artist on Artist is Steve Reidell (aka STV SLV) of Chicago production duo the Hood Internet. Unexpectedly Jenkinson is now dabbling in dubstep, which may offend some of his snobbier fans, but considering the style’s indebtedness to the same kind of twitchy drum ‘n’ bass with which he began his career, his move also creates the satisfying sense of a long loop closing. Over the course of nine successive LPs he bounced between electronic and electroacoustic sounds before making a return to full-fledged EDM with this year’s strictly sequencer-based Ufabulum. Then in 1998 he released Music Is Rotted One Note, a sharp stylistic turn into jazz fusion that gave him the chance to show off his virtuoso electric-bass chops.
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