Tom Jenkinson (AKA Squarepusher) is that rare bird in Electronica: a performing musician of great talent as well as a wizard with the machinery. His earlier albums and singles have bounced between ultra-high-speed Drum 'n' Bass and Jazz Fusion in the manner of '70s Weather Report--along with some Aphex-Twinnish electronic noodling. His drum-machine programming has always had a "natural" quality (though often at superhuman beats per minute). With this album we hear why: Jenkinson is a jazz drummer of the first order. We've already heard his awe-inspiring fretless basswork on earlier albums, and it, too, is heard in abundance. But what we don't hear is the intricate sequencing of earlier albums; instead, Tom uses drumsticks, not drum machines. Through the wonders of multitrack, he layers his bass (sometimes several deep) and keyboards over those drums. Then he processes the result, sometimes heavily, bending acoustic space and time. The result is highly reminiscent of Miles Davis' more experimental works of the '70s. Punctuating the album are brief bursts of pure tape-based analog electronica, but it all works seamlessly.

Many fans of earlier Squarepusher albums will be turned off by this one. Even fans of his earlier Jazz Fusion tracks might find this far too experimental. And fans of experimental Jazz might resent the audacity of his explorations into their territory. But those who are able to put aside their preconceived notions might find this album to be an amazing work of genius from an artist who (at 23) is just starting what could be a very long and interesting journey.

Squarepusher revisits Miles' most controversial album "On the Corner" in Music is Rotted One Note. At one time bands would not touch that album, now everyone wants to say they were influenced by it. However, Music is Rotted One Note uses Miles music as a sketchpad for something even darker and disturbing. Unlike Miles this is not a continuous jam. Some tracks are in the vein of dark ambient and one track even sounds like Morton Subotnick. Despite the variety, the album is cohesive. Each track feeds into the next. Though Squarepusher is known for drill 'n' bass, this to me is his best album because it takes Miles' music to new hights that it could have reached.

This is an album for all those jazz drum lovers that are

a bit out there. Warp egomaniacs are invited too.

Always pushing you further.

It's Warp , what can you say.

But kinda different - this is T.Jenkinksons'

experimental abstract jazz.

Or maybe - post drumnbass low noise speed freaky jazz?!?!

Squarepusher's brain efforts show

The album is dark, mysterious, witty and challenging.

One must say the album is complicated but doesn't

It's plain messing with your brain.

Favourite tracks: Favourite? You've got to be kidding.

One can hardly consider it pure music , but it's some

4+1/2 stars to this as it's not really something

I am truly speechless over this album. It is true that Jenkinson's style changes slightly from album to album, but this is quite a jump. Gone are the highly articulate drums and melodies that were held together by a complex array of electronics. Also gone are the club friendly aspects that made Jenkinson an artist to be dealt with in the dance scene. Replacing all of those is what seems to be a pure jazz album recorded on analogue.

Although jazz does not usually fit in with what I listen to on a normal basis, this album does remind me of some other jazz artists that find themselves a place in my cd player on regular occasions. This album is what would happen if Miles Davis decided to make a dance album. Instead it is dance guru Jenkinson that decided to make a jazz album.

The entire album is comprised of live drums, not drum machines. Also included are synths and basses and guitars that are seemingly played directly to analogue. There doesn't seem to be a hint of electronic or computer manipulation anywhere on this album. Yet, even with it being a complete and almost perfect jazz album, it still has the feeling that makes you want to go clubbing to it.

If you are a huge fan of Squarepusher other works, you might want to check out a few samples of this album before actually making the purchase. However, if you are a fan of acid and progressive jazz music and hail Miles Davis as a god, go ahead and buy this album...you will love it much much more than the ravers of generation x.

This album picks up where Herbie Hancock rather sadly left off through dwindling interest in the seventies before turning his tremendous talents to more basic funk. It has a lot in common with Sextant and Crossings as well as Headhunters and others from that period. Chuck in some emulations of Mahavishnu Style Wailing, Stanley Clarke/Jaco Pastorius as well as Electric Miles period stuff and you have a great fusion album brought right up to date with 90s beats and technology. Whilst the playing cannot match the aforementioned greats, there is much to be admired here. The drumming (which sounds like real drums) is first class and the level of invention in the composition is very high, better than in the original 70s material where lightening fast playing was considered more important than nice tunes and clever changes. Its really great to hear somebody playing something that sounds like a fender-rhodes again. Gimme more, much more. Highly recommended.