I am just here for him, this British man dressed like Edoardo Mangiarotti, looking forward to listening to some of his classic tracks from the past. A magic version of Tundra, perhaps. But, no. No fucking Tundra for me. No shit from the Nineties.
A deviant session of Damogen Furies, Squarepusher’s last album, is on air at Paradiso. An unknown creature has taken control over Jenkinson’s mental and cognitive skills. The result is nearly 35 minutes of charming devastation before he starts to fiddle with his bass guitar — something that he does pretty well, actually.
He does not play or create sounds. He degrades harmony and recalibrates the concept of noise.
I have never heard such an expression of acoustic fury. Every blast which comes out of Paradiso speakers is an insult to silence. This sumptuous conglomerate of feedback glitches, heavy beats and schizophrenic electronic covers the whole frequency spectrum.
Meantime, someone attempts to dance, pretending to listen to some 4/4 dance music. Several people cork their ears. Somebody appears dismayed. A girl looks for her earplugs.
As for me, I experience astonishment and auricular ailment. This is what I have always wanted to hear.
Events like these are small parts of a revolution in electronic music. Now the question is: will Tom Jenkinson be able to go further?