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Go Plastic
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| Go Plastic | ||||
|---|---|---|---|---|
 | ||||
| Studio album by | ||||
| Released | 25 June 2001[1] | |||
| Genre | ||||
| Length | 48:39 | |||
| Label | Warp | |||
| Producer | Tom Jenkinson | |||
| Squarepusher chronology | ||||
| ||||
| Singles from Go Plastic | ||||
| ||||
Go Plastic is the fifth studio album by British electronic musician Tom Jenkinson, under the alias of Squarepusher. It was released through Warp Records on 25 June 2001.[1] It peaked at number 100 on the UK Albums Chart.[3]
Production
[edit]Unlike many of his earlier albums such as Hard Normal Daddy and Music Is Rotted One Note, which often prominently featured live instrumentation (particularly drums and bass guitar), the sound palette on Go Plastic is almost exclusively synthetic, with an emphasis on high-velocity breakbeats subjected to extensive manipulation and granular effects. In a contemporaneous interview, Squarepusher claimed to be "fed up" with real instruments, wanting everything "brutal and digital."[4]
Despite this, Squarepusher claims that the album was not produced using a computer, but rather by utilizing a range of hardware including the Eventide DSP4000 and Eventide Orville digital effects processors, Yamaha QY700 sequencers, Yamaha TX81Z and FS1R synthesizers, and an Akai S6000 sampler.[5][6]
Release
[edit]Reception
[edit]| Aggregate scores | |
|---|---|
| Source | Rating |
| Metacritic | 70/100[7] |
| Review scores | |
| Source | Rating |
| AllMusic |   [8] |
| Hot Press | favorable[9] |
| LA Weekly | favorable[10] |
| NME | 9/10[11] |
| Pitchfork | 5.1/10[12] |
| Playlouder | [13] |
| PopMatters | favorable[14] |
| Rolling Stone | [15] |
| The Rolling Stone Album Guide | [16] |
At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream critics, Go Plastic received an average score of 70, based on 17 reviews, indicating generally favorable reviews.[7]
In 2015, Exclaim placed it at number 2 on its list of "an essential guide to Squarepusher".[17]
Track listing
[edit]| No. | Title | Length |
|---|---|---|
| 1. | "My Red Hot Car" | 4:42 |
| 2. | "Boneville Occident" | 4:50 |
| 3. | "Go! Spastic" | 6:21 |
| 4. | "Metteng Excuske v1.2" | 1:08 |
| 5. | "The Exploding Psychology" | 6:43 |
| 6. | "I Wish You Could Talk" | 4:53 |
| 7. | "Greenways Trajectory" | 7:10 |
| 8. | "Tommib" | 1:19 |
| 9. | "My Fucking Sound" | 7:05 |
| 10. | "Plaistow Flex Out" | 4:28 |
| Total length: | 48:21 | |
| No. | Title | Length |
|---|---|---|
| 11. | "Hardcore Obelisk" | 5:24 |
Charts
[edit]References
[edit]- ^ a b "Go Plastic". Warp. Retrieved 7 August 2017.
- ^ "My Red Hot Car". Warp. Retrieved 7 August 2017.
- ^ a b "Squarepusher". Official Charts Company. Retrieved 7 August 2017.
- ^ TechTV interview 2001 on YouTube
- ^ Rockin' On Magazine (Japan) interview 2004
- ^ "Squarepusher Interview – Brutal Sound". MusicTech. 7 September 2015. Retrieved 7 November 2024.
- ^ a b "Go Plastic by Squarepusher". Metacritic. CBS Interactive. Retrieved 7 August 2017.
- ^ Bush, John. "Go Plastic - Squarepusher". AllMusic. Retrieved 7 August 2017.
- ^ Sweeney, Eamon (7 June 2001). "Go Plastic". Hot Press. Retrieved 7 August 2017.
- ^ Osbaum, Stacy (25 July 2001). "Squarepusher". LA Weekly. Retrieved 7 August 2017.
- ^ Pattison, Louis (21 June 2001). "Squarepusher : Go Plastic". NME. Archived from the original on 5 June 2011. Retrieved 7 August 2017.
- ^ Schreiber, Ryan (26 June 2001). "Squarepusher: Go Plastic". Pitchfork. Retrieved 7 August 2017.
- ^ Alphabet, Adam (9 July 2001). "Go Plastic". Playlouder. Archived from the original on 2 August 2003. Retrieved 7 August 2017.
- ^ Koba, Kirsten (9 July 2001). "Squarepusher: Go Plastic". PopMatters. Retrieved 7 August 2017.
- ^ Blashill, Pat (30 August 2001). "Squarepusher, Go Plastic". Rolling Stone. Archived from the original on 5 May 2002. Retrieved 7 August 2017.
- ^ Hoard, Christian David; Brackett, Nathan (2004). The New Rolling Stone Album Guide (4th ed.). New York: Simon & Schuster. p. 773. ISBN 9780743201698. Retrieved 9 April 2024.
- ^ Keating, Daryl (13 May 2015). "An Essential Guide to Squarepusher". Exclaim!. Retrieved 7 August 2017.
External links
[edit]- Go Plastic at Discogs (list of releases)
- Go Plastic at MusicBrainz (list of releases)
Go Plastic
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Background
Conception and Development
Go Plastic marked a pivotal shift in Tom Jenkinson's creative direction, emerging as a response to his earlier, more abstract and live-instrument-driven albums such as Selection Sixteen (1999) and Music Is Rotted One Note (1998). Seeking to embrace a fully synthetic aesthetic, Jenkinson conceived the project to prioritize digital manipulation over traditional instrumentation, aiming for a "plastic" sound that emphasized artificiality and precision. This idea stemmed from his growing dissatisfaction with acoustic elements, which he felt limited the potential for inhuman, machine-like expressions in electronic music.[7][8] In early development around 2000–2001, Jenkinson focused on experiments with rapid drum programming and intricate basslines to generate visceral energy without relying on conventional melodies. He described being "fed up with real instruments" and excited by the possibilities of sequencing samples to create music "beyond a pair of hands," blending aggressive, adrenaline-fueled rhythms with subtle pop accessibility. These initial sketches explored breakcore-like intensity while incorporating evolving UK electronic influences, such as 2-step rhythms, to craft a synthetic urgency that contrasted his prior abstract explorations.[7][9][10] Jenkinson began writing tracks in isolation at his home studio in Essex, where he relocated in 2001, dedicating 14–16 hours daily to organic idea generation without external input from the Warp Records community. This solitary process allowed for intuitive evolution of demos, retaining concepts mentally and iterating through digital tools to refine the album's core themes of rhythmic complexity and digital brutality.[11][9]Context in Squarepusher's Career
Tom Jenkinson's early releases under the Squarepusher moniker, such as the 1996 album Feed Me Weird Things on Rephlex Records, emphasized analog techniques including tape manipulation and hardware synthesizers, reflecting his initial fascination with organic, breakbeat-driven electronic music.[9] By the late 1990s, however, Jenkinson began transitioning toward digital experimentation, incorporating software-based processing to achieve more precise and aggressive sound design. This shift culminated in Go Plastic (2001), where he explored digital tools to create visceral, adrenaline-fueled compositions devoid of traditional melody.[9][12] Following the release of Selection Sixteen in 1999, which incorporated live instrumentation and jazz elements alongside electronic beats, Jenkinson expressed growing interest in live bass performances, drawing from his background as a skilled bassist.[13] This period also saw a pivot toward more energetic and hyper-kinetic electronic forms, as Go Plastic marked a departure from the abstract tendencies of intelligent dance music (IDM) toward rigorous, synthetic structures that prioritized intensity over introspection.[9][14] A pivotal career milestone occurred in December 1995, when Jenkinson signed a five-album contract with Warp Records shortly after early releases on smaller labels like Rephlex, solidifying his position as a core artist within Warp's roster by the time of Go Plastic.[15] In 2001, coinciding with the album's creation, Jenkinson relocated from London to a rural area in Essex, fostering a solitary creative process insulated from the city's electronic music scene and enabling focused experimentation.[9] This isolation aligned with his self-described reclusive lifestyle, where music served as a primary outlet for expression.[11]Musical Style and Composition
Genre Elements and Influences
Go Plastic is characterized by its fusion of drill 'n' bass, breakcore, and elements of 2-step garage, building on the intelligent dance music (IDM) foundations established by artists such as Aphex Twin and Autechre.[8][16] The album's rhythmic complexity draws from drill 'n' bass's hyper-speed breakbeats and fragmented percussion, often exceeding 200 beats per minute, while breakcore influences introduce chaotic, experimental structures with abrupt shifts and digital manipulations.[8][16] These elements are layered with IDM's abstract, non-linear compositions, evoking the glitchy, atmospheric soundscapes of Aphex Twin and the algorithmic precision of Autechre, creating a dense sonic palette that prioritizes innovation over dancefloor accessibility.[8] The album also incorporates rhythms from the UK garage scene, particularly the shuffling 2-step patterns reminiscent of Artful Dodger's productions, which add a subtle swing and bass-heavy groove to the otherwise frenetic electronic framework.[8] This garage influence blends with Jenkinson's jazz fusion bass techniques, rooted in his background as a virtuoso bassist trained in upright and electric styles, infusing tracks with organic, improvisational lines that contrast the synthetic drum programming.[8][9] For instance, the bass elements evoke electric Miles Davis-era jazz fusion, providing melodic anchors amid the breakcore intensity and highlighting Jenkinson's ability to merge acoustic virtuosity with electronic abstraction.[8] The title Go Plastic encapsulates the album's core concept of synthetic, malleable electronic production, emphasizing a "clinical, ever more synthetic, ever more plastic" aesthetic that pushes boundaries toward an artificial, hyper-detailed sound world.[17] This reflects a deliberate contrast between the "plastic" digital manipulations—such as DSP-altered samples and stuttering effects—and the more organic bass contributions, underscoring Squarepusher's exploration of malleability in electronic music forms.[17][16]Track Structures and Themes
The tracks on Go Plastic predominantly feature high-BPM drum patterns, often exceeding 200 BPM, layered with syncopated basslines that create a frenetic, disorienting energy through abrupt tempo shifts and intricate breakbeat programming. These rhythms draw from drum and bass traditions but deconstruct them into stuttering, fast-paced percussion that races at speeds up to 300 BPM in places, evoking a sense of relentless momentum interrupted by sudden halving or acceleration.[18][19] Such structures emphasize mechanical precision, with basslines weaving in and out of the beats to heighten tension, as seen in the dense, sample-manipulated grooves that blur rhythmic boundaries.[20] Thematic elements throughout the album evoke futuristic urban alienation, conveyed through glitchy electronics that simulate digital malfunctions and fractured soundscapes, underscoring a tension between human expression and machine-like rigidity. Tracks incorporate "exploding" psychological motifs, where melodic fragments emerge amid chaotic noise, suggesting inner turmoil in a mechanized world, as in layered distortions that build dystopian atmospheres.[8][20] This machine-human tension is amplified by emotive yet warped synth tones that float over feral rhythms, creating unease and isolation in an electronic urban sprawl.[19] A specific technique employed is the overlay of polyrhythms and time-signature changes, such as 7/8 and 9/8 patterns interrupting 4/4 foundations, to generate rhythmic unease and propulsion, particularly evident in the track "Go! Spastic" where these shifts contribute to its skittering intensity.[21] These elements, informed briefly by 2-step garage influences in early rhythmic parodies, evolve into more experimental forms.[20] The album's overall arc begins with energetic, garage-oriented tracks that parody upbeat dance rhythms before progressing into chaotic breakcore deconstructions filled with white noise and distortion, culminating in reflective ambience that slows to sparse, haunting melodies for a contemplative close.[20][22] This progression mirrors a journey from frenetic urban pulse to introspective dissolution, with tempos dropping from around 180 BPM in the opening half to ambient lows near 80 BPM by the end.[19]Production
Recording Process
The recording of Go Plastic occurred entirely at Tom Jenkinson's home studio in Essex, England, in early 2001 ahead of the album's June release.[9] Jenkinson managed the entire production as a solo effort, performing all elements and engineering the sessions himself without collaborators, which allowed for complete creative control. He constructed the tracks using programmed bass lines overdubbed onto meticulously crafted drum patterns, reflecting a deliberate pivot toward synthetic textures over acoustic performance.[23][24] The workflow typically started with foundational bass riffs generated through programming, followed by iterative layering of electronic components to build complexity. Jenkinson prioritized improvisation—rooted in his jazz sensibilities—over rigid sequencing, fostering an organic evolution of tracks that emphasized dynamic interplay between rhythms and textures.[23][7]Technical Aspects and Gear
The production of Go Plastic relied heavily on hardware sequencers and drum machines for creating its intricate rhythms and patterns, with no computers used in the process.[25][7] Squarepusher (Tom Jenkinson) used the Yamaha QY700 sequencer to handle initial patterning and sequencing, leveraging the QY700's fine rhythmic editing capabilities, including Quantization Strength and support for 32-part multitimbral synthesis, to construct complex MIDI data with continuous controllers and system exclusive messages.[7] These devices enabled the album's hyper-speed rhythms through multi-layered drum editing, where samples were manipulated for rapid, glitchy percussion layers without relying on computer-based sequencing.[7] For bass processing, Jenkinson achieved a unified tone across the album using hardware effects units like the Eventide Orville and DSP4000, which provided programmable digital processing for pitch shifting, delays, glitching, and distortion on bass lines, allowing bespoke effects algorithms to integrate organic bass tones with digital manipulation.[7][25] Innovations in extreme time-stretching were facilitated by the Akai S6000 sampler's phase-coherent time stretch feature, which preserved audio quality while altering bass samples to fit the album's frenetic tempos and thematic structures.[7] The bass setup centered on electric bass guitar, routed through analog effects pedals for initial tone shaping before digital processing, creating an organic foundation amid the surrounding digital chaos.[25] Jenkinson favored instruments like the Fender Jazz Bass in his rig during this period, paired with Eventide units to add ring modulation and other effects evident in tracks like those employing aggressive bass interventions.[25][26] Mixing was conducted in-house at Jenkinson's Essex studio, emphasizing hardware-based workflows to maintain the album's raw, spatial intensity, with stereo panning techniques applied via the Eventide processors and sampler outputs to induce disorientation in the soundfield.[9][7] This setup, established after his 2001 move, allowed extended experimentation during the recording timeline, aligning gear limitations with creative breakthroughs in rhythm and bass integration.[9]Release and Promotion
Commercial Release
Go Plastic was commercially released on 25 June 2001 by Warp Records in the United Kingdom and Europe. Upon release, it peaked at number 100 on the UK Albums Chart. The album was released in the United States in 2001 through Warp Records.[16] This launch followed the May 2001 single "My Red Hot Car," which previewed the album's energetic drill 'n' bass style.[27] The album was issued in standard physical formats, including CD (catalog number WARPCD85) and double vinyl (WARPLP85), with limited digital availability at the time due to the nascent state of online music distribution in 2001.[28] There was no initial DVD-audio edition, aligning with Warp's focus on core audio formats for electronic releases.[16] Warp Records' 2001 catalog positioned Go Plastic alongside high-profile electronic acts like Aphex Twin's Drukqs, targeting fans of innovative IDM and experimental electronica. The packaging featured minimalist cover art designed by Tom Jenkinson himself, incorporating abstract motifs evoking synthetic, plastic-like textures in a stark monochrome design.[2] Liner notes emphasized Jenkinson's solo production, crediting him for all music and artwork without additional collaborators.[29]Singles and Marketing Strategies
The lead single from Go Plastic, "My Red Hot Car", was released on 21 May 2001 as a CD and vinyl EP by Warp Records.[30] The EP featured the title track in two versions—"My Red Hot Car (Girl)" and "My Red Hot Car"—alongside B-sides "Hardcore Obelisk" and "I Wish You Obelisk", the latter incorporating a lengthy silent segment.[31] This release served as an accessible entry point to the album's blend of drum and bass and IDM elements, with the single's pop-inflected structure designed to attract a broader audience ahead of the full album launch.[8] Warp Records employed targeted marketing strategies to promote Go Plastic, including radio airplay pushes on BBC Radio 1, where the album received coverage and review attention in contemporary broadcasts.[19] The label also issued limited edition vinyl runs of the single and album formats to appeal to collectors, alongside online previews available on Warp.net to build anticipation among electronic music fans.[28] Promotional efforts extended to live performances, such as a gig in New York City to celebrate the album's release, allowing Squarepusher (Tom Jenkinson) to showcase the album live.[23] Promotional descriptions highlighted Jenkinson's bass guitar virtuosity, positioning Go Plastic as a showcase for his technical prowess within the electronic genre.[9] These strategies culminated in the album's commercial release on 25 June 2001, marking the peak of the pre-launch campaign.[16]Reception and Performance
Critical Reception
Upon its release in 2001, Go Plastic garnered generally favorable reviews from critics, earning a Metacritic aggregate score of 70 out of 100 based on 17 publications, reflecting a consensus on its ambitious electronic experimentation amid evolving post-rave landscapes.[32] Publications like Alternative Press awarded it 90 out of 100, commending the fusion of intricate beat programming from earlier works with bolder sonic explorations, deeming it "the best of both worlds."[33] Similarly, The Wire scored it 80 out of 100, highlighting Tom Jenkinson's shift to a "rougher, more complex sound" that showcased his technical prowess in bass and drum interplay.[33] Not all responses were as enthusiastic; Pitchfork assigned a lower 5.1 out of 10, praising isolated tracks like "Plaistow Flex Out" for their energetic blend of jazzy tension and eerie percussion but critiquing the album's overcomplexity and reliance on "stuttering, fast-paced percussion" that felt dated and randomly irritating in a post-Y2K electronic scene.[8] Drowned in Sound offered a more effusive take, likening Squarepusher to "Aphex Twin on steroids" for the music's frenetic pace and sheer physicality, which "blasts it through the stratosphere" beyond many IDM contemporaries, though it noted the initial challenge of keeping up with its speed.[14] Critics frequently lauded Jenkinson's rhythmic innovations, such as the advanced drill-and-bass elements enriched with jazz and acid-house influences, as seen in All About Jazz, which described the album as applying "old school" beats to a "richer sonic palette" without descending into mere noise.[34] However, accessibility emerged as a common point of criticism for non-IDM audiences, with Mojo giving it 60 out of 100 and calling the experience "draining" due to its excesses, while Q Magazine (also 60) observed a mischievous beat manipulation akin to Aphex Twin but faulted the lack of melodic respect.[33] PopMatters captured this tension, portraying the album as "awkward, but exciting" with unsteady, jackhammering beats that mix frustration and melodic intimacy for the "intelligent and adventurous," which Metacritic assessed at 60 out of 100.[18][33] Viewed as a bold Warp Records statement in 2001's shifting electronic terrain—post-rave and leaning toward harder, more experimental forms—the album polarized yet affirmed Jenkinson's role in pushing IDM boundaries.[8]Commercial Performance and Charts
Go Plastic achieved modest commercial success upon its release, peaking at number 100 on the UK Albums Chart on July 7, 2001, where it spent one week.[35] It performed more strongly within niche markets, reaching number 11 on the UK Independent Albums Chart and charting for two weeks.[35] The album saw no significant international chart placements beyond specialized electronic music lists in Europe, underscoring its appeal to dedicated listeners rather than mainstream audiences.[16] In the United States, where it was released by Warp Records, sales remained modest through the label's distribution efforts.[36] No certifications were awarded for the album by organizations such as the BPI or RIAA. Its commercial performance was bolstered by Warp Records' cult following in the UK and European electronic scenes, which supported steady interest among fans and DJs, particularly for vinyl editions.[37] The experimental nature of the music limited mainstream radio exposure, contributing to its confined market reach.[38]Content and Credits
Track Listing
The album Go Plastic consists of ten tracks, all composed by Tom Jenkinson under his Squarepusher alias.[39][40]| No. | Title | Duration |
|---|---|---|
| 1 | "My Red Hot Car" | 4:42 |
| 2 | "Boneville Occident" | 4:50 |
| 3 | "Go! Spastic" | 6:21 |
| 4 | "Metteng Excuske v1.2" | 1:08 |
| 5 | "The Exploding Psychology" | 6:43 |
| 6 | "I Wish You Could Talk" | 4:54 |
| 7 | "Greenways Trajectory" | 7:08 |
| 8 | "Tommib" | 1:19 |
| 9 | "My Fucking Sound" | 7:05 |
| 10 | "Plaistow Flex Out" | 4:28 |